She continued her career in filmmaking, producing both simple commercial films and complex pre-Surrealist narratives such as two of her most famous works: "La Souriante Madame Beudet" ("The Smiling Madame Beudet", 1922/23) and "La Coquille et le Clergyman" ("The Seashell and the Clergyman", 1928). Both films were released before the epoch-making "Un Chien Andalou" (1929) by Luis Buñuel and Salvador Dalí, and "La Coquille et le Clergyman" is sometimes credited as the first Surrealist film; however, some scholars, such as Ephraim Katz, consider Dulac first and foremost an Impressionist filmmaker. Dulac's goal of "pure cinema" and some of her works inspired the French Cinema pur film movement. Her other important experimental films include several shorts based on music: "Disque(s) 957" (1928/29; based on Chopin) and "Thème et variations" (1928/29; classical music), and others from the same period.