In collaboration with Quebecine and the Cineteca Nacional de México, we present this selection of ten films, including social melodramas, film noirs, and comedies, which are representative titles from the Golden Age of Mexican cinema in the 1940s and 1950s. Rare gems with finely crafted direction, showcased in beautifully restored versions.
Restored version
Winner of the International Prize, 1959 Cannes Film Festival
A priest in a poor community leads a charitable life in accordance with his religious principles, but many people do not reciprocate.
Luis Buñuel
Born in 1900 in Aragon, Spain, Luis Buñuel studied with the Jesuits before moving to Madrid to attend university. There he met Salvador Dalí and Federico García Lorca, and became close to the Dadaist movement. In 1925 he moved to Paris and became the assistant of Jean Epstein. Influenced by surrealism, he directed, with the collaboration of Dalí on the screenplay, Un chien andalou and then The Golden Age. The latter was more widely distributed, but caused a scandal and inaugurated the long list of censorship acts that would be directed at Buñuel's works, regardless of the period, for their sense of provocation, their political scope and their independence of spirit. The filmmaker worked for a time in Spain, but the civil war broke out and he left for the United States, before finally going into exile in Mexico, where he shot most of his work for almost twenty years. From the 1960s onwards, he returned to France to film, beginning a fruitful collaboration with the screenwriter Jean-Claude Carrière, who co-wrote all of his last films. Since his death, Buñuel's work has continued to be one of the most influential of the 20th century.
Photo: Collections of the Cinémathèque québécoise
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Luis Buñuel, celui par qui le scandale arrive : Buñuel avait beau avoir le goût du scandale, ceux qui ont émaillé son parcours de cinéaste ont, à n’en pas douter, toujours dépassé ce qu’il avait fantasmé. Il suffit de s'en remémorer quelques-uns pour constater que la dimension subversive de son œuvre déborde largement de la simple provocation, et ce dès ses débuts.
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