Ultrafilms Maria Pie Belle De Jour 18112 New

Ultrafilms presents: Maria — Pie of Belle de Jour (18112, New)

Key Points:

In digital archiving, specific numerical strings often refer to internal database codes or specific scene IDs within a larger collection. For collectors, finding these specific entries is essential for: ultrafilms maria pie belle de jour 18112 new

18112: This number appears to be a specific identifier, possibly a catalog ID or reference number within a digital media database. Summary of " Belle de Jour " (1967 Film)

For collectors, catalog number 18112 sits in UltraFilms’ numbered series alongside their releases of Last Year at Marienbad (18103) and The Exterminating Angel (18108). This is not a budget line—it is a prestige object. Ultrafilms presents: Maria — Pie of Belle de

. That film follows a bored housewife who leads a double life as a prostitute during the day. Ultrafilms frequently uses cinematic themes for its high-production-value scenes. Scene ID 18112: This specific identifier (18112) is used by the Ultrafilms

The phrase 'Belle de Jour' originates from the surrealist masterpiece by Luis Buñuel. Analysis of the film's aesthetic and themes of hidden desires can be found at the Berkeley Art Museum and Pacific Film Archive (BAMPFA) This is not a budget line—it is a prestige object

“Pie’s Fragment” (12 min): A newly discovered 16mm short film by a Spanish-French avant-garde filmmaker named Maria Pía (b. 1942), who served as an assistant to Buñuel’s set designer. The short, titled Le regard fixe (The Fixed Gaze), is a wordless diptych of a woman walking through a series of red-velvet doors. It directly mirrors the composition of Séverine’s first visit to Madame Anaïs. UltraFilms secured the rights from the Pía estate.