breaking with notions of viewing convention: a man sharpens his razor blade, goes outside onto the balcony and looks longingly to the evening sky. While a small cloud passes over the full moon, the man gashes a young woman brutally across her eye. Subsequent visually dramatic scenes provoke while simultaneously fascinating with poetic metaphors: Out of the wound of a hand that resembles a stigma, a stream of ants crawls out. The breasts of a woman transform under the hands of a slavering man on her backside. A man pulls two priests and two concert pianos covered with donkey cadavers along on rope. Buñuel continually enshrouds clear meaning with his surrealist scenes and denies the viewer any orientation. Subheads such as “eight years later,” “around three in the afternoon,” “sixteen years ago,” or “with the spring” only propel forth the uncertainty. On the musical level. Buñuel works by means of repetition. Two pieces are constantly alternated for the dramatic scenes,