Bunuel comes most readily to mind. In UN CHIEN ANDALOU, the front door of an apartment building is in Paris, the back door (seen minutes later) looks out on a beach. In BELLE DE JOUR, there is no way to know which scenes are "real," and which are dreams or fantasies. Bunuel himself told inter- viewers he had no idea where the fantasies began or ended. Or, in terms of the original question to SCREEN-L, Bunuel didn't know when the narrator was unreliable. In THE MAN WHO SHOT LIBERTY VALANCE, on the other hand, the true and reliable story is told in the end. But this film is interesting because it gives a journalist's or historian's justification for propagating the unreliable story. Peter Lev Towson State U. ---- To signoff SCREEN-L, e-mail [log in to unmask] and put SIGNOFF SCREEN-L in the message. Problems? Contact [log in to unmask]