The Phantom of Liberty Screen 4 articles

The Phantom of Liberty

1974

The Phantom of Liberty Poster
  • Whatever the alchemy that operates between the two men [Buñuel and Carrière], the result has been staggering. Never more disquietingly so than in the new film. Its narrative technique is unique. Its only predecessors in art have been that extraordinary eighteenth-century Polish novel, The Manuscript Found at Saragossa, and the works of the twentieth-century French writer Raymond Roussel.

  • While OBJECT has a great story idea and a great casting gimmick, PHANTOM, like DISCRETE CHARM OF THE BOURGEOISIE before it, has a ton of ideas and a ton of gimmicks, many of them brilliant. It lacks the unifying conceit of its predecessor, it’s true (friends try to have dinner; fail) but the way it weaves its fragmented sketches together, and the way some of them return for encores, I find dazzling.

  • By simply switching around the processes of consumption and excretion, the director draws our attention to the random absurdities of our daily rituals. This is satire that cuts deep: Somewhere beneath our laughter, Buñuel is completely rearranging the way we see the world.

  • Anything is possible in a picaresque tale like The Milky Way, but this narrative rebellion was most deviously achieved with The Phantom of Liberty. . . . The Phantom of Liberty was born from the dreams of Buñuel and Carrière and grew into an exploitation of this very whimsy, and the freedom to form one of the director’s most comically brazen chronicles.

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