The Discreet Charm of the Bourgeoisie (1972)
Directed by Luis Buñuel
In Luis Buñuel’s deliciously satiric masterpiece, an upper-class sextet sits down to dinner but never eats, their attempts continually thwarted by a vaudevillian mixture of events both actual and imagined.
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What critics compared The Discreet Charm of the Bourgeoisie to
Mr. Na enjoys overt directorial misdirection as well; early on, the scenes that end with Jong-gu waking in a panic from a bad dream are numerous enough to remind one of Luis Buñuel’s “The Discreet Charm of the Bourgeoisie.”
As for Polanski, he masterfully orchestrates all the mind-game mayhem — at times, the scenario recalls a more grounded version of Luis Bunuel's surrealist romps The Exterminating Angel and The Discreet Charm of the Bourgeoisie — although he above all filmmakers constantly reminds us how important it is to separate the artist's personal life from his public offerings.
Watching High-Rise, I was reminded of the many other, better films that have tackled class anxiety in a similar setting: George Romero’s Land of the Dead , Luis Buñuel’s The Discreet Charm of the Bourgeoisie , Bong Joon-Ho’s Snowpiercer and (at the top of this particular class) Fritz Lang’s Metropolis .
He wants to poke fun at the wealthy and lightly satirize our social divides, in the tradition of Luis Buñuel’s The Discreet Charm of the Bourgeoisie .
The clever, suspenseful Parasite , from Korea’s much-acclaimed director Bong Joon-Ho ( Snowpiercer ), is on roughly the same satiric wavelength as Luis Buñuel’s The Discreet Charm of the Bourgeoisie and Jordan Peele’s Us .
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In "Femme Fatale" De Palma is comparable to the sly prankster Luis Buñuel proved himself to be in "The Discreet Charm of the Bourgeoisie."
James Ward Byrkit’s sci-fi thriller “Coherence” starts as an updated comedy of manners like Luis Buñuel’s “The Discreet Charm of the Bourgeoisie” and ends like something from Alfred Hitchcock.
Buñuel created dream sequences in the teasing masterpieces “Belle de Jour” (1967) and “The Discreet Charm of the Bourgeoisie” (1972), but he was not making a hundred-and-sixty-million-dollar thriller.
Kuşkusuz Triangle of Sadness’da Buñuel’in Le Charme discret de la bourgeoisie (1972) adlı filminin esintileri yoğunlukla rastlayabileceğiniz bir durum.
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The first half of the film, in which the veneer of respectability at an outwardly dignified social function is brutally stripped away, is as mordantly funny as the similar trips that Luis Bunuel took viewers on in such films as "The Exterminating Angel" and "The Discreet Charm of the Bourgeoisie" while the second is as legitimately touching and graceful a passage of filmmaking as Von Trier has ever presented and demonstrates that he can indeed tell a story without relying on all the shock visuals or off-putting distancing techniques that he has so often relied upon in the past.
When the questions are posed by representations (cartoon figures) of representations (characters in a film) of humanity, our perception of what washes out as a slacker version of My Dinner with Andre melded, if also at literal odds, with The Discreet Charm of the Bourgeoisie is undermined and destabilized.