Dave Kehr
The New York Times
Luis Buñuel is categorized with the likes of Truffaut and Fellini as a pillar of the art-film establishment of the 1960s and ’70s. But before Buñuel returned to Europe, to make late career masterpieces like “The Discreet Charm of the Bourgeoisie” and “Tristana,” he spent almost 20 years in Mexico, working on films that ranged from popular genre pictures to thorny personal projects.
His best movies from the Mexican period blend those two extremes, to the point where a film like “Susana” (1951) could both please matinee audiences with its rip-roaring melodrama and enchant more skeptical viewers with its bizarre imagery, acidic social observation and casual subversion of cherished values. [...]
di Dave Kehr, articolo completo (3116 caratteri spazi inclusi) su The New York Times 11 dicembre 2007
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