It’s difficult to imagine from the plot summary how this is going to play out, given the set-up is fairly thin: a bourgeois group of high society socialities go for a slap-up dinner after the opera and find themselves unable to leave the home they’re in. But Buñuel, of course, knows what he’s doing, and mixes jabs at the aristocrats, at complacent bourgeois values, and at the church itself (the ending is bitterly directed and something he developed further in Simon of the Desert and Viridiana, amongst other works). It’s a psychological horror of sorts, at least in the way its structured: there’s an invisible force seeming to prevent them from leaving, but this seems to be a deeply-ingrained sense of decorum. At the end it feels like they are able to leave when the correct formula of words is uttered: the entrapment is very much a social one, as everyone is constrained by their own sense of what’s allowed, what’s considered polite, and it’s that in the end which is their tragedy, the pathetic sadness of this entire class of people. It’s all beautifully acted and staged, and ends up — in a low-key way — being perhaps Buñuel’s strongest film.
FILM REVIEW: Criterion Collection
Director/Writer Luis Buñuel; Cinematographer Gabriel Figueroa; Starring Silvia Pinal, Enrique Rambal; Length 93 minutes.
Seen at the National Library, Wellington, Wednesday 18 August 1999 (and earlier on VHS at home, Wellington, April 1999, and most recently on YouTube streaming at home, Wellington, Sunday 12 September 2021).