The Phantom of Liberty and Billy Madison both open like a set of fraternal twins. Men in power get drunk and desecrate beautiful spaces. One’s debauchery is spawned by recently-captured Spanish troops, the other by “Nudie Magazine Day.” Dream-like logic runs throughout; not everything has or needs explanation. Penguins and ostriches appear out of thin air, the bourgeoisie speaks gibberish while shitting in toilets around a dining room table and lone snipers are hailed as heroes and celebrities. Sandler and Buñuel both forge vignette-like scenes within the same mental plane. And yet, despite the rebellious spirits of each, the surreal laughter sits under the heavy bedrock of two systems of seemingly never-ending modes of dictatorship: that of Generalísimo Franco’s 36-year reign, and three grueling generations of brutal O’Doyle rule.