A man cuts a girl's eye with a knife and leaves an egg yolk. This represents the opening of the vision of reality through surrealism. A boy falls from a bicycle in the street and a girl who sees him from the window comes down and kisses him. The girl brings the boy up to the house and ants come out of his hand. Outside the window a girl plays with a piece of the hand that is on the street and the policeman entrusts him with the hand that is closed in a chest. After the girl is hit. The boy in the house palpates the girl, who imagines naked and tries to repel him. The boy advances by towing two pianos with ropes with dead donkeys above and below bound priests.The girl enters another room and arrives with a counterpart of him who shoots and finds herself with a superimposed overlay near a naked woman seen from behind, who then disappears. A procession takes away his body that goes away in a very long field. The girl comes out of the room and sees a moth on the wall, then enlarged in detail, with a skull on the body. The moth, in fact, is a symbol of death just as death is not life. The soul is immortal but the body in life, in opposition to death, is characterized by a sexual drive. The girl is makeup and the makeup ends up on the sealed mouth of the other: in love, the one leaves the sign on the other, even with gestures and silences. By the sea, the girl meets the boy who kisses with passion. They walk on the beach holding hands. Time later, in spring they are half buried without showing signs of life: the erotic pulsation is a starting point for the love bond, but if one of these two elements is missing, the couple is half buried and immobilized. Bunuel realized this movie with the painter Salvador Dalì.