Discreet Charm

 of an exploration on life's chance encounters and the stream of consciousness. After all, Buñuel had already thrown down the gauntlet on the bourgeoisie with movies such as "The Exterminating Angel", "Discreet Charm", "L'Age D'or" (1930), and even "Un Chien Andalou" (1929), a prototypical Surrealist film that properly shocked audiences out of their bourgeois complacencies.Despite the narrative meandering and seemingly random dream-within-dream bits, there is actually a coherent dialogue that underlies all the obscurity and creates a connective tissue for the movie. "The Discreet Appeal in the Bourgeoisie" can be read as a condemnation and dehumanization of the French bourgeoisie. Like Jean Renoir's controversial masterpiece "The Rules from the Game" (1939), it truly is a snarky satire that methodically exposes the superficiality and infantilism of a group of social elites. Buñuel by no means plays by the rules, and he in no way tells us explicitly what's on his <a href="http://www.obdchina.com/dmw3-code-reader-p-1101.html">http://www.obdchina.com/dmw3-code-reader-p-1101.html</a> mind; his cynical, sardonic and oftentimes subversive attitude runs parallel to his unconventional and non-conformist approach to filmmaking. In the case of "Discreet Charm", the end result can be a marriage of innovation and irreverence.TRAPPED IN PURGATORYThough "Discreet Charm" doesn't subscribe to conventional notions of narrative structuring, Buñuel nevertheless creates something of a three-act structure by which the film loosely adheres to. On three different occasions, he willfully diverts from the main narrative to show all of his bourgeois guests trudging down a desolate country road that, by assumption, <a href="http://www.obdchina.com/for-toyota-obd-4d-key-programmer-p-1226.html">copy car keys</a> leads to nowhere. What's interesting (and possibly most telling) about these scenes is that they seem to be strategically placed at certain points over the course on the movie to offset the main narrative. From this perspective, then, one particular could consider that these three acts in the movie appear out to be approximately the same length of time when divided by the three narrative markers, and each act consists of its own