An obsessive artist, Buñuel cares about what he wants to say; or rather, what he wants to see. A really important director makes only one film; his work is a sum, a totality of perfectly related parts that illuminate each other. In Buñuel's films, from "An Andalusian Dog" to "The Discreet Charm of the Bourgeoisie," the essential unifying factor is sight. His first image is that of a woman's eye slit by a razor and throughout the body of his work there is this pervading sense of sight menaced, sight lost as virginity is lost; sight as a wound that will not heal, wounded sight as an interstice through which dreams and desires can flow. Catherine Deneuve's absent regard in "Belle de Jour" is calculated: She is constantly looking outside the confines of the screen, enlarging the space of the screen, looking at something beyond that...