Un Chien Andalou Noailles, who commissioned Dalí and Buñuel to create a sequel, of around the same length, with sound, to be called "La Bête Andalouse", in order to affirm its connection with "Un Chien". Dalí stated that the theme of the new film was to parallel that of the first: "to present the straight and pure 'conduct' of someone who continues to pursue love despite wretched humanitarian ideals, patriotism and the other poor mechanisms of reality." This new film ultimately was released in 1930 under the title "L'Age d'Or" but was quickly withdrawn by the Noailles family after being banned by the
Maya Deren influence because of the surreal nature of "Meshes of the Afternoon". Bunuel's "Un Chien Andalou" (1928) is on the premier examples of film representing the structure of the subconscious. Deren detested this comparison because of the surrealist movement's interest in the entertainment value of its subject more than its meaning. The form of "Meshes of the Afternoon" does not compare to Un Chien Andalou either. Psychoanalysis of "Meshes of the Afternoon" from a Freudian viewer or Jungian viewer attempted to decode the symbolism in the film to uncover what Deren was saying about identity and sexuality. Deren adamantly objected her