A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

Excellent characters with emotional depth. My wife, daughter and granddaughter all enjoyed it...and me, too! Very good movie! You won't be disappointed.

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

The movie is made so realistic it has a lot of that WoW feeling at the right moments and never tooo over the top. the suspense is done so well and the emotion is felt. Very well put together with the music and all.

Some movies by Luis Buñuel are at first sight an incongruous mixture of realistic, surrealistic, (anti)religious, sexual and dream elements. However, in his carefully concocted screenplays, no text, no image, no character, no sequence doesn't have a meaning, not always a logical one, but at least an associative one. Hereafter, a modest contribution to the many interpretations already published about 'The Exterminating Angel'. We should not forget that the screenplay of this movie is based on an unfinished play by José Bergamin, a catholic and Marxist.In 'Providence street' a group of upper class people (pars pro toto) gets trapped in a house after a dinner party given by the soprano Lucia after her performance as 'Lucia', the main role in the opera 'Lucia di Lammermoor' by G. Donizetti. The libretto of the opera, based on a novel by Walter Scott, contains a bad (forced) marriage, a mad scene, a ghost and a suicide, all elements used in the movie. Before the dinner party began, all members of the underclass (the servants) had left the house for all kinds of reasons, except the majordomo ('a clown'). At night, the guests don't want to leave the house and prefer to stay inside it during the whole night. In the morning, they find out that they are trapped inside. A journey into 'the disintegration of human dignity' begins. Without their servants, the upper class members are not capable of organizing a normal way of life. Their mansion doesn't become a paradise, despite the playing of a piano piece by Pietro Domenico 'Paradisi' and despite a cabalistic ritual, amulets (chicken feet) or even a Masonic cry. The inhabitants are confronted with other living 'symbols' inside the house: a bear (violence) and sheep (victims). The latter will be slaughtered in order to save the party members from starvation.The spell is broken when a party member can reconstruct the past, the beginning of the ordeal. They can turn the time back and leave their prison. Their liberation is celebrated with a 'Te Deum' mass. When they come out of the church, they see another spectacle: common people are shot down by their long arm, the police. The plebs is offering itself up to the existing powers like sheep, of which a long row enters the church in a holy procession. The opportunity of a power grab has been missed. The angel is still exterminating the underclasses.

Buñuel's 1962 masterpiece of bourgeoisie-baiting Freudian repression, 'The Exterminating Angel' is a Surrealist slaughterhouse.A group of wealthy upper-class members of the bourgeoisie find themselves mysteriously trapped inside a house when attending a lavish dinner party. The doors are not locked and there is no logical reason why they cannot leave, yet they remain trapped like prisoners, and likewise, no one can enter (the flummoxed police are stationed outside, trying to work out how to save the rich people). Over the course of the film, the loathing and contempt that they really always felt for both themselves and one another comes bubbling to the rotten surface as they are slowly stripped of their status and pretensions, fighting over water, sleeping on the floor, and insulting one another as their hungry bodies begin to stink from the oppressive heat.In this new world, the bourgeoisie's money and power are reduced to worthlessness. 'Anything but physical violence! This is not like us! Remember who you are, remember your upbringing!', a doctor exclaims, trying to break up a brawl, but this is a meaningless gesture -- here the rich are no better than anyone else, for even the servants and cooks had the earthy precognition to realise what was coming and depart at the start of the film, before the invisible padlocks manifested.This film is a brilliant, incredibly funny example of Buñuel's career manifesto: the rich and powerful are nothing without their wealth, and in the absence of the poor they have no one to control or feel superior to. Take it all away and they become the human beings (ie. animals) that all people really are, deep down. The poor are more important to the rich than they ever realise.A film like 'The Exterminating Angel' serves to remind us that, regardless of wealth, we are all trapped inside the frigid, repressive boxes of our own (and society's) creation, and a conscious decision to leave them on our own terms is nearly impossible.

One of Bunuel's most rare and amazing , ¨The Exterminating Angel¨ is packed with surreal moments , criticism , absurd situations and astonishing nightmares . This is one Buñuel's best , including characteristically scatological satire , fierce as well as surreal nightmares and surprising events . Dramatic film about strange relationships among various members of higher class when they remain locked into a mansion . As a luxurious mansion is the place wherein some dinner guests find they cannot for any definable reason leave the dining room . This is weird story about a group of higher class , a drama with surrealism and sour portrait upon social stratum , catholicism , with plenty of dream imaginary and many other things , being stunningly realized by the Spanish maestro of surrealism , the great Luis Buñuel . This is a typical Buñuel film , as there are a lot of symbolism , social critique , including mockery or wholesale review upon religion , especially Catholicism . Luis Buñuel was given a strict Jesuit education which sowed the seeds of his obsession with both subversive behavior and religion , issues well shown in a lot of films and that would preoccupy Buñuel for the rest of his career . Here Bunuel gives a perverse studio about wealthy people , desire and tension when a misfit bunch is closed for any inexplicable reason ; and even being strongly cut and banned by Russian censorship because the idea of people not being allowed to "leave a party" was considered offensive and anti-government . The scene where a bear and two sheep appear during the dinner party was based on a real incident at a dinner party that Buñuel once attended in New York . In his autobiography Luis Buñuel claims he was asked by Warner Brothers to work on a story that eventually was filmed as The beast with five fingers (1946) , it contains many of the elements of the earlier film including the large mansion, piano recital, and stabbing of a disembodied hand . Interesting and thought-provoking screenplay from the same Luis Buñuel and Luis Alcoriza, Buñuel's usual screenwriter ; they pull off a straight-faced treatment of shocking subject matter .The movie script was original and early working title "The Castaways of Providence Street" , then Luis Buñuel took the title The Exterminating Angel from his friend José Bergamin, the Spanish poet, who had mentioned it the year before for a play he wanted to write . Out of all the films in Luis Buñuel's Mexican/Spanish film period, this is the only film he had complete creative control over . Nice acting by all-Mexican-star cast such as Claudio Brook , Jacqueline Andere , Enrique Rambal and Silvia Pinal of Viridiana , among others . The film relies heavily on the relationship between them , as are developed love-hatred conflicts . Furthermore , Buñuel satirizes and he carries out outright critical to aristocracy , bourgeoisie and attack upon religion . Atmospheric as well as evocative cinematography by Gabriel Figueroa , Buñuel's ordinary . This thoughtful and dramatic motion picture was well produced by Gustavo Alatriste and compellingly directed by Luis Buñuel who was voted the 14th Greatest Director of all time . This Buñuel's strange film belongs to his Mexican period ; in fact , it's plenty of known Mexican actors . Born in Calanda , Aragon (1900) , Buñuel subsequently moved to Madrid to study at the university there, where his close friends included Salvador Dalí and Federico García Lorca. After moving to Paris , at the beginning Buñuel did a variety of film-related odd jobs , including working as an assistant to director Jean Epstein . With financial help from his mother and creative assistance from Dalí, he made his first film , this 17-minute "Un Chien Andalou" (1929), and immediately catapulted himself into film history thanks to its disturbing images and surrealist plot . The following year , sponsored by wealthy art patrons, he made his first picture , the scabrous witty and violent "Age of Gold" (1930), which mercilessly attacked the church and the middle classes, themes that would preoccupy Buñuel for the rest of his career . That career, though, seemed almost over by the mid-1930s, as he found work increasingly hard to come by and after the Spanish Civil War , where he made ¨Las Hurdes¨ , as Luis emigrated to the US where he worked for the Museum of Modern Art and as a film dubber for Warner Bros . He subsequently went on his Mexican period he teamed up with producer Óscar Dancigers and after a couple of unmemorable efforts shot back to international attention with the lacerating study of Mexican street urchins in ¨Los Olvidados¨ (1950), winning him the Best Director award at the Cannes Film Festival. But despite this new-found acclaim, Buñuel spent much of the next decade working on a variety of ultra-low-budget films, few of which made much impact outside Spanish-speaking countries , though many of them are well worth seeking out . As he went on filming "The Great Madcap" , ¨The brute¨, "Wuthering Heights", ¨El¨ , "The Criminal Life of Archibaldo De la Cruz" , ¨Robinson Crusoe¨ , ¨Death in the garden¨ and many others . After returning his native country, Spain, by making ¨Viridiana¨ this film was prohibited on the grounds of blasphemy as well as ¨The milky way¨ or Via Lactea , both of them were strongly prohibited by Spanish censorship . Most Buñuel's films were surreal black comedies , parables that satirized moral hypocrisy , social moral , artistic pretension, and , of course , the Catholic Church . In French-Spanish final period the collaboration with producer Serge Silberman and writer Jean-Claude Carrière gave notorious as well as polemic films such as ¨Viridiana¨ , ¨The Discreet Charm of the Bourgeoisie" and ¨Belle De Jour¨. His last one was the notorious ¨That obscure object of desire¨ (1977

Paraphrasing this guy Ripstein, a Mexican producer's son who got to hang around during filming, "Time is deleted and now represented as space. It's moving, a circle." Leaving us to consider what the 'actions' in the spaces are. "Instructions from and to the unconscious."–-- —It's as long as a feature film. It's not entertaining. It wasn't and wasn't expected to be a success. Bunuel had to compromise on a lot of things and 'make-do'. He invented/discovered as he made it; a man creates.--------I guess it's a trade-off—a lot of work on a long block of time making a singular thing instead of many things, many hits in the ether. But it's a film —a considerable 'event', more committmenting than the 'smaller' things, at least during it's time. A butterfly for essentially, all the days.--–Of course film is sights and sounds together, the same as our quotidian metaphysical phenomena we're all 'fooled' by. Maybe that's the allure, unless it's a control-fest army project they're addicted to. But not creatives like Bunuel. He's one of my guys.-—Different but probably influential to "Savages" (1972 by Ivory/Merchant), the Michael O'Donoghue ejaculant that's good for what's ailin ya. At least, O'Donoghue goes about it differently — so beautifully showing the rape of the Feminine through All of Civilization. "...they know not what they do". "'F' it!" Bunuel's probably doing the same thing; it's a 90,000 year roadshow.---—Just watch out for the fakers with their structures and trappings. Like a lot of Woody Allen's last 25 films or so — purportedly showing this battle royal but bogged down by Howard Stern-like narcissism and self- importance. Can't get near a sub-conscious for fear of losing 'me'. Thus the fakers miss the real action and merely pose internal antipathies which wind up right-wing status quo.----— Back to the universal knowledge — creatives must override their personal agendas to transcend. After all, creating means making something that wasn't there before. One stands up in their moment; as their truths are alive and touch, it prevails.--—–Bunuel used archetypes, O'Donoghue language (very entertainingly!) — both are 'regular guys' you'd want to have an espresso with.