Nazario, Luis Buñuel's
Mexico, 1958 . 94 '. Single Pass Digital
see
Cycle Luis Buñuel in Mexico
In collaboration with the Institute of Mexico in Spain
Mexico, 1958 . 94 '. Single Pass Digital
see
Cycle Luis Buñuel in Mexico
In collaboration with the Institute of Mexico in Spain
In the Mexico of the early twentieth century, the humble priest shares his poverty Nazarín needy living around the inn chamfer. After protecting a prostitute who leads the fire of the inn, Nazario is forced to leave. On his way, the actions of religious cause a series of conflicts that oppose his vision of Christian charity. Nazario
represented the first meeting between two great English: first Buñuel, the most important filmmaker Hispanic, on the other, Benito Perez Galdos, the greatest English novelist after Cervantes. The project had in mind Buñuel since 1948, when the director worked on the adaptation of Doña Perfecta (1950), another work by Pérez Galdós Buñuel which owned the rights.
A trick producer Buñuel Francisco Cabrera left without the opportunity to film Doña Perfecta (1950), which ended up being directed by Alejandro Galindo. It took ten years for which Buñuel had again the opportunity to bring to the screen his particular vision of the universe Galdós.
Buñuel's interest by Pérez Galdós was late. In his youth he seemed outdated this writer belongs to a generation of the famous "98 - but away from his, the of 27. It took several years for Buñuel began to appreciate the elements and characters of the work of Pérez Galdós:
"It was in exile when I started really reading it, and then I was interested. I found in his works elements that could even call 'surreal': crazy love, crazy visions a reality with moments of intense lyricism. Nazario is a novel in its final stage and not the most accomplished, but his story and his character are exciting, or at least I suggested many things bothered me. "
The film marked the first and only collaboration with famed producer Buñuel independent Barbachano Manuel Ponce, who made significant contributions to Mexican cinema, while remaining outside the industry stagnant official which began to present serious problems of bureaucracy and union closure.
Located in the Mexico of Porfirio Diaz, Nazario was initially criticized for not sticking to the Mexican context of early twentieth century. "That does not matter much," said Buñuel. "If it's not Mexico or Spain is a country which can show in the film. Apart from that you know that in many details, if not they, they themselves in others, Mexico is English. It is and not is, that makes it more interesting. "
Nazarín contains several of the more disturbing and enigmatic images of the Bunuel films. The Laughing Christ, the child cries dragging a sheet from an empty street, the kiss becomes a bite or a woman giving the protagonist a pineapple have become the subject of countless discussions in which Buñuel, funny, always refused to participate. "I was intrigued as much as you," he said. "There is no metaphysical theories in my films."
represented the first meeting between two great English: first Buñuel, the most important filmmaker Hispanic, on the other, Benito Perez Galdos, the greatest English novelist after Cervantes. The project had in mind Buñuel since 1948, when the director worked on the adaptation of Doña Perfecta (1950), another work by Pérez Galdós Buñuel which owned the rights.
A trick producer Buñuel Francisco Cabrera left without the opportunity to film Doña Perfecta (1950), which ended up being directed by Alejandro Galindo. It took ten years for which Buñuel had again the opportunity to bring to the screen his particular vision of the universe Galdós.
Buñuel's interest by Pérez Galdós was late. In his youth he seemed outdated this writer belongs to a generation of the famous "98 - but away from his, the of 27. It took several years for Buñuel began to appreciate the elements and characters of the work of Pérez Galdós:
"It was in exile when I started really reading it, and then I was interested. I found in his works elements that could even call 'surreal': crazy love, crazy visions a reality with moments of intense lyricism. Nazario is a novel in its final stage and not the most accomplished, but his story and his character are exciting, or at least I suggested many things bothered me. "
The film marked the first and only collaboration with famed producer Buñuel independent Barbachano Manuel Ponce, who made significant contributions to Mexican cinema, while remaining outside the industry stagnant official which began to present serious problems of bureaucracy and union closure.
Located in the Mexico of Porfirio Diaz, Nazario was initially criticized for not sticking to the Mexican context of early twentieth century. "That does not matter much," said Buñuel. "If it's not Mexico or Spain is a country which can show in the film. Apart from that you know that in many details, if not they, they themselves in others, Mexico is English. It is and not is, that makes it more interesting. "
Nazarín contains several of the more disturbing and enigmatic images of the Bunuel films. The Laughing Christ, the child cries dragging a sheet from an empty street, the kiss becomes a bite or a woman giving the protagonist a pineapple have become the subject of countless discussions in which Buñuel, funny, always refused to participate. "I was intrigued as much as you," he said. "There is no metaphysical theories in my films."
cinemexicano.mty.itesm.mx
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