This article aims to study surrealist cinema as a form of artistic protest by revealing its aesthetic peculiarities and ways of penetrating the narrative and representational patterns recognized in traditional cinema, and then asking about the possibilities of reviving it in the contemporary context. The study adopted an analytical-hermeneutics approach, in which some of the narrative and visual characteristics of cinematic surrealism were analyzed, by returning to the experiences of the pioneers of this trend, such as Luis Buñuel and Salvador Dali, with the help of the philosophical concepts that established this rebellion against rationalism, as developed by Andre Breton in the first Surrealist manifesto. As for reviving surreal cinema today, the matter is not related to simply reproducing its visual methods, but rather to our ability to restore its radical logic in breaking boundaries, questioning reality, and renewing the cinematic language from within. The results showed that surrealist cinema is not defined only through the use of dreams or the subconscious, but rather through its protest stance towards the realistic narrative system and traditional representation, and its endeavor to break the familiar relationship between meaning and image