thumb|thumbtime=5|left|Un Chien Andalou (1929), a collaboration with Luis Buñuel Dalí became interested in film when he was young, going to the theater most Sundays."Dalí & Film" Edt. Gale, Matthew. Salvador Dalí Museum Inc. St Petersburg, Florida. 2007. By the late 1920s he was fascinated by the potential of film to reveal "the unlimited fantasy born of things themselves"Gibson, Ian (1997) p. 174 and went on to collaborate with the director Luis Buñuel on two Surrealist films: the 17-minute short Un Chien Andalou (1929) and the feature film L'Age d'Or (1930). Dalí and Buñuel agree that they jointly developed the script and imagery of Un Chien Andalou, but there is controversy over the extent of Dalí's contribution to L'Age d'Or.Gibson, Ian (1997) pp. 248–49 Un Chien Andalou features a graphic opening scene of a human eyeball being slashed with a razor and develops surreal imagery and irrational discontinuities in time and space to produce a dreamlike quality.Eberwein, Robert T. (2014). Film and the Dream Screen: A Sleep and a Forgetting . Princeton University Press. p. 83. . L'Age d'Or is more overtly anti-clerical and anti-establishment, and was banned after right-wing groups staged a riot in the Parisian theater where it was being shown.Gibson, Ian (1997), pp. 267–74 Summarizing the impact of these two films on the Surrealist film movement, one commentator has stated: "If Un Chien Andalou stands as the supreme record of Surrealism's adventures into the realm of the unconscious, then L'Âge d'Or is perhaps the most trenchant and implacable expression of its revolutionary intent."Short, Robert. "The Age of Gold: Surrealist Cinema, Persistence of Vision" Vol. 3, 2002.
thumb|thumbtime=5|left|Un Chien Andalou (1929), a collaboration with Luis Buñuel Dalí became interested in film when he was young, going to the theater most Sundays."Dalí & Film" Edt. Gale, Matthew. Salvador Dalí Museum Inc. St Petersburg, Florida. 2007. By the late 1920s he was fascinated by the potential of film to reveal "the unlimited fantasy born of things themselves"Gibson, Ian (1997) p. 174 and went on to collaborate with the director Luis Buñuel on two Surrealist films: the 17-minute short Un Chien Andalou (1929) and the feature film L'Age d'Or (1930). Dalí and Buñuel agree that they jointly developed the script and imagery of Un Chien Andalou, but there is controversy over the extent o.f Dalí's contribution to L'Age d'Or.Gibson, Ian (1997) pp. 248–49 Un Chien Andalou features a graphic opening scene of a human eye:ball being slashed with a razor and develops surreal imagery and irrational discontinuities in time and space to produce a dreamlike quality.Eberwein, Robert T (2014). Film and the Dream Screen: A Sleep and a Forgetting . Princeton University Press. p. 83 . L'Age d'Or is more overtly anti-clerical and anti-establishment, and was banned after right-wing groups staged a riot in the Parisian theater where it was being shown.Gibson, Ian (1997), pp. 267–74 Summarizing the impact of these two films on the Surrealist film movement, one commentator has stated "If Un Chien Andalou stands as the supreme record of Surrealism's ad.ventures into the realm of the unconscious, then L'Âge d'Or is perhaps the most trenchant and implacable expression of its revolutionary intent."Short, Robert. "The Age of Gold: Surrealist Cinema, Persistence of Vision" Vol. 3, 2002.