In his feature films, Bigas Luna often referred to Salvador Dalí, a close personal friend of the late filmmaker and visual artist. The backdrop of his most successful film 'Jamón Jamón' for instance consisted of wild semi-deserts that seemed as empty as Dalí’s dream-like paintings, drawing full attention to the few objects in it (of course including the archetypical giant Osborne bull). In his feature and short films, Luna feasts on the heritage of (Spanish) surrealism and various traditional Spanish artists (such as Goya and many others) and Spanish food (ham, paella, tortilla’s) with explicit notions of sexuality, and references to religious imagery.

In ‘Dalí', created fifteen years after the death of the surrealistic painter, Luna fuses all of these elements. This short ode to his deceased friend uses bilateral symmetry showing a woman plucking her pubic hair, echoing with surreal joy and humour the image of Dalí’s famous moustache. The work is part of the series 'Orígenes-Courbet'.

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