I watched this a second time after seeing it first some years ago. The first time it almost frustrated me too much for an immediate response, even though I did like certain parts. Perhaps I found that Bunuel was almost making me take sides, and whatever side had me in a perpetual loop of 'what the hell' kind of logic. But then again, isn't that what Bunuel is best at? In a sense, one could look at his 'swan song', That Obscure Object of Desire, as his ultimate feminist tome, or rather critique. It's really a woman's right to choose who she wants to give herself too, and who's to say if Conchita (Carole Bouquet and Angela Molina) really does want to have sex with Matthieu (Fernando Rey) or not? I'm thinking pretty strongly after a second viewing that that's part of the point. Maybe it's because Matthieu sees her as an object- and not as a complete and total human being- that he'll never possess her, and more importantly that he'll never understand completely why until perhaps the end. But even then it's never really clear. The audience is almost given the most fractured romantic tale in modern cinema, where you do (or at least I did, if not more on the first viewing then both times) feel for Matthieu who is not really as flawed a bourgeois character as in 'Discreet Charm', and is actually a rather nice and easy-going fellow. But then Conchita has her point of view, which everyone *should* accept, but then the tables are turned, more than once, leading to why that bucket of water was poured on her at the train station before it took off.<br /><br />But that's part of Bunuel's genius, I think, and why That Obscure Object of Desire works as a kind of penultimate take of the battle of the sexes. It deals with little hints of societal madness (terrorism is everywhere, but our two main characters- even Conchita who's real lover may be one himself- seem to neglect in their misplaced passions), but more than anything each other's unwillingness to go further with themselves. Rey particularly is brilliant in the role of Matthieu, where he can play exquisite, charming, despondent, yearning, rage, and complacency all in great measure. While up against not one but two actresses, he holds his own very well with his character, however much his character's logic might skew. And on a first viewing- and perhaps this shows how strong a feminist tale it is considering as a guy I got almost too subjectively involved- one might not understand why Mattieu keeps on going after Conchita, even after her intentions are made. It's almost like the most uncomfortable satire of 'blue-balls' ever made. Conchita- played by two actresses- is sometimes (particularly on a first viewing) indistinguishable from one another, and it adds to the maddeningly seductive power she has over her old, aged rich follower.<br /><br />What ended up making me like 'Obscure Object' maybe even more than I should have is how well Bunuel manages the mind games- on both sides- with the cunning satire. It's really quick and hilarious in spots, and couple of moments had me rolling with laughter, like the random moment as the one rich man (not Matthieu, of course) is about to leave for the bank, but when his driver starts the car it explodes! Or when Matthieu comes to find another piece of Conchita's seemingly precious demeanor stripped away when he finds out how she 'really' makes her money in the small town, which is actually funnier not even because of her in the scene but for who she's dancing for. If anything the ending is most frustrating, as after all that's happened and been told, and even after the seeming break-up, they're still together. It's like a cruel, vicious prank, with the symbolism of a sewing needle thrown in for good measure. But because it's Bunuel, and by the age of 77 he for sure knows what he's doing, and it's more worthwhile than a lesser filmmaker would have gone for. His actual movement of the camera as well- which is often sort of intricate and precise and seamless and actually really powerful even in quiet scenes- shows how someone on his last film can still have the great sweep of his prime running through. In fact, there are a couple of camera moves that are on par with the best that come up in his masterpiece, Discreet Charm of the Bourgeoisie. <br /><br />Filled with uncomfortably funny, sad and jarring moments, and enough notes on what it means to hold on to one's sexual parts (or not) with one's partner to ignite an entire women's studies course for a semester at a college, it's a work from Bunuel I was glad to see again, to see more into the layers he places in it and to find that even when it's not meaning to it's quite the funny affair- and quite the way to make a final bow on an extraordinary career. The final shot, by the way, is like one last wink to the audience- if not a totally spectacular one- that still is in my mind after the film has ended. Grade: A