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filmmaker and magician

The Milky Way Luis Buñuel of

The Milky Way is a strange movie, both satirical, mystical, surreal and mysterious, in which Luis Bunuel mixes genres with the same happiness and excitement that even his other films such as Belle de Jour or Veridiana. It contains the same irony, this diversion of symbols and Christian discourse into a sort of funny and irreverent pastiche. Christianity is without doubt one of the favorite themes of Bunuel, who incorporates into many of his films, either as a direct Veridiana, where many scenes are a parody of scenes from the Bible or of indirectly, by the critical underlying values and ideas of Catholicism. The Milky Way, however, is the only film of Bunuel that is fully dedicated to a description of beliefs, dogmas and demonstrations of the Christian faith. The subject of the film is fairly simple: two pilgrims who walk the pilgrimage to Saint Jacques de Compostela encounter along the way characters and scenes belong living in different times and at different periods of Christian history, which illustrate all theological controversies and contradictions between different dogmas of the Catholic Church. But if the intention of denunciation and ridicule of the dogmatic rhetoric and these endless discussions on the principle of transubstantiation, the eucharist, the nature of the Holy Trinity, the existence of miracles are dominant in the film and are delicious moments of irony and parody, it s 'acts just one aspect of the film. If Luis Bunuel had merely the purely critical dimension of the Christian religion, his film would have been a coarse denunciation of religious fanaticism. But the film draws its strength not from this distance that the director introduced between him and the various discourses on faith, but the fascination that this speech may exercise. There is no of true conviction of the theological stupidity, rather a sort of admiring bewilderment at these speeches that have made the history of the Christian world, and appear today with all their wonderful absurdity in the eyes of the moderns. There is especially a fascination with the immense possibilities of cinema. Bunuel mixes with equal success scenes and records belonging to different periods, ranging from scenes showing Christ debonair and human scenes in the Middle Ages, passing evocations of Christic sects living fully in the worship of Jesus and speaking Latin, then jumping to the theological quarrel in the Church between supporters of the triple nature of the Holy Trinity and those in the single and indivisible nature of God, etc.. This juxtaposition of different temporal and thematic scenes heterogeneous is not linear. A kind of contamination occurs between the characters and objects, some of them move from one scene to another, transform, making the link between different times and heterogeneous. It's like attending a number of magician, who brings out of his hat with equal conviction and enthusiasm, a rabbit, a leather bag, and a zucchini a Christmas tree. The happiness that one feels in watching the Milky Way is this magic that does not care about the likelihood, based solely on the director's virtuosity and character funny, beautiful or striking scenes to make a lasting impression on viewers.