The Neon Demon of Luis Buñuel and Salvador Dali's groundbreaking surrealist short "Un Chien Andalou" – that all you can do is howl or cheer." Tirdad Derakhshani, writing for "The Philadelphia Inquirer", called Refn a "bold visionary artist... able to revel in the culture of instant gratification while also subjecting it to critique", giving the film three and a half out of four stars and calling it a "brutal masterpiece". Rene Rodriguez of "The Miami Herald" wrote positively of the film's visuals and experimental filmmaking, writing, "To complain that "The Neon Demon" lacks substance or that it doesn't have anything to say about
Film editing such as Lev Kuleshov (already mentioned) further explored and theorized about editing and its ideological nature. Sergei Eisenstein developed a system of editing that was unconcerned with the rules of the continuity system of classical Hollywood that he called Intellectual montage. Alternatives to traditional editing were also explored by early surrealist and Dada filmmakers such as Luis Buñuel (director of the 1929 "Un Chien Andalou") and René Clair (director of 1924's "Entr'acte" which starred famous Dada artists Marcel Duchamp and Man Ray). The French New Wave filmmakers such as Jean-Luc Godard and François Truffaut and their American counterparts such as