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The interdisciplinary approach of this book unites the two, focusing on films such as Los olvidados, Nazarín, and El ángel exterminador alongside La Mort en ce jardin, The Young One, and Simón del desierto, among others.
Although in recent years Buñuel’s Mexican films have begun to enjoy a greater presence in criticism on the director, they are often segregated according to their perceived critical value, effectively creating two substrands of work: the independent movies and the studio potboilers.
But as they begin to run out of food and water these wealthy and sophisticated men and women slowly start to panic, and then undergo some truly stunning character transformations that bring out the worst in them.
Bunuel takes great pleasure in humiliating the elitist crowd inside the house, but knowing how he was treated during the Franco era it is hardly surprising.
In fact, many of them perfectly illustrate the odd void that exists between contemporary political elites and the people that they govern, with the only significant difference being the fact that now the elites have pro-globalist aspirations which affect a significantly bigger group of people.
There is a short segment towards the end where it feels like Bunuel goes a bit too far with the mockery.
Eventually, the party ends but instead of heading back home the guests take off their expensive jackets, loosen up their dresses and prepare to spend the night on the elegant couches and chairs.