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Staff Picks: The Discreet Charm of the Bourgeoisie (1972)

A surreal, virtually plotless series of dreams centered around six middle-class people and their consistently interrupted attempts to have a meal together.
(PG, 101 min.)

Showtimes

Friday, Sep, 27

TBD

Saturday, Sep, 28

TBD

Staff Picks Series
Every month a member of the Moxie staff picks a film that impacted their lives and we put it up on the big screen.
September's pick was made by Avalon Johnson.

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Summary: Luis Buñuel's 1972 film depicting a complex web of dreams within dreams within dreams, centered around a group of six upper-middle class members of society and their repeatedly thwarted attempts to have a meal together. The interruptions become more and more surreal as the film progresses. [Metacritic]

Starring: Fernando Rey, Delphine Seyrig, Paul Frankeur
Director: Luis Buñuel
Genre(s): Drama, Fantasy, Comedy

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"A wonderful cast, which includes Fernando Rey, Delphine Seyrig and Jean-Pierre Cassel, help Buuel go about his anarchic mischief..."

— London Evening, Standard

"An exotic and brilliant hothouse flower of a film."

— Peter Bradshaw, Guardian

"Manages to be totally surreal yet totally approachable. Quite amazing."

— David Jenkins, Little White Lies

"Luis Buuel's 1972 comic masterpiece, about three well-to-do couples who try and fail to have a meal together, is perhaps the most perfectly achieved and executed of all his late French films."

— Jonathan Rosenbaum, Chicago Reader

"December 4, 2008 Luis Bunuel adds another fine film to his solid record with this surrealistically oriented tale of so-called bourgeois types."

— Variety

"An absurdly comic assault on the meaningless social rituals and polite hypocrisies of the upper middle class"

— Gary Dowell, Dallas Morning News

"This has to be one of the most completely realized comedies ever made, and, in its odd way, one of the most civilized."

— Charles Taylor, Salon.com

"It combines a masterful command of the medium with a mischievous, anarchic sense of imaginative freedom."

— A.O. Scott, New York Times