00:00:46.791 --> 00:00:50.166
– Roll sound, roll camera.
– Filmoteca, take one.

00:00:50.458 --> 00:00:51.625
Mark.

00:00:51.625 --> 00:00:52.750
Action.

00:00:56.583 --> 00:00:59.625
Here's where movies
come to rest.

00:01:00.000 --> 00:01:02.833
– It's cold, huh?
– For sure.

00:01:03.041 --> 00:01:07.375
How long does a movie
remain in preservation?

00:01:07.625 --> 00:01:13.083
With this temperature,
and this humidity, 100 years.

00:01:13.083 --> 00:01:16.125
The entire history of film, then.

00:01:16.541 --> 00:01:20.166
– You should know, at your age.
– Of course!

00:01:21.666 --> 00:01:26.208
Our pièce de résistance,
the negative of “Nazarín”.

00:01:26.500 --> 00:01:28.208
Did you know
it's one of my favorites?

00:01:28.625 --> 00:01:30.875
Mine too, of course.

00:01:31.291 --> 00:01:34.541
I'm deeply in love
with this movie, because--

00:01:35.000 --> 00:01:39.916
--it reminds me of film school.
– Why?

00:01:40.250 --> 00:01:46.416
We took screenwriting
with Julio Alejandro, and--

00:01:46.750 --> 00:01:56.125
--we discused “Nazarín”,
about its fantastic ending.

00:01:56.375 --> 00:01:58.625
It's one of the greatest endings
in movie history.

00:01:59.041 --> 00:02:02.708
On an emotional level,
music was really important.

00:02:03.000 --> 00:02:05.833
Those drums from Calanda,
absolutely from Aragón.

00:02:12.375 --> 00:02:14.625
Buñuel's ability to include
personal stuff in his films--

00:02:14.833 --> 00:02:17.750
--that's the best about him.

00:02:27.041 --> 00:02:29.250
How many films
do you have here, Paco?

00:02:29.583 --> 00:02:35.750
We have around 45,000 rolls.

00:02:36.041 --> 00:02:37.958
45,000 rolls.

00:02:46.958 --> 00:02:50.833
FOLLOWING NAZARÍN:
THE ECHO OF A LAND IN ANOTHER LAND

00:03:28.000 --> 00:03:32.666
I feel that “Nazarín” is actually
happening in Spain.

00:03:32.958 --> 00:03:41.458
I always felt Buñuel was looking
for a lost Spain, his father's Spain.

00:03:41.791 --> 00:03:44.250
An almost medieval Spain.

00:03:44.791 --> 00:03:51.291
A moral atmosphere from Spain,
in a different landscape.

00:03:51.625 --> 00:03:56.750
But sometimes that landscape,
like that scene with the girl--

00:03:57.041 --> 00:04:03.625
--it may actually be Toledo,
or Calanda.

00:04:03.958 --> 00:04:06.791
I recently saw pictures
from Calanda--

00:04:07.166 --> 00:04:11.791
--and it looks gorgeous,
but I guess it wasn't like that.

00:04:16.375 --> 00:04:22.541
“Nazarín” owes a lot
to Pérez Galdós--

00:04:22.791 --> 00:04:28.625
--to the weight
of his work, which is amazing--

00:04:28.916 --> 00:04:31.458
--and I know that
Buñuel liked him very much.

00:04:31.750 --> 00:04:37.333
He insisted that
if Galdós was American--

00:04:37.541 --> 00:04:39.541
--he would be absolutely
more famous--

00:04:39.833 --> 00:04:44.916
--because American writers
have the canyons behind them.

00:04:45.541 --> 00:04:52.375
But Galdós only had
the beaches of Canarias.

00:04:52.666 --> 00:04:59.500
Buñuel doesn't do
a superficial work in “Nazarín”--

00:04:59.833 --> 00:05:04.500
--he puts his eyes, guts,
heart and head in it.

00:05:04.916 --> 00:05:07.291
It feels as if
it predated Galdós.

00:05:07.625 --> 00:05:11.708
I think stealing from Buñuel
is stealing from nature itself.

00:05:12.083 --> 00:05:15.666
It predates everything,
he even predates himself.

00:05:16.041 --> 00:05:25.166
“Nazarín” may come after Galdós,
but it feels absolutely different.

00:05:25.750 --> 00:05:33.416
We shouldn't forget
an ancestor to understand Buñuel--

00:05:33.833 --> 00:05:37.000
--Gracián, sometimes
we forget about him.

00:05:37.250 --> 00:05:46.083
“El Criticón” has a lot of
stuff we can find in Buñuel--

00:05:46.875 --> 00:05:48.541
--even imagery.

00:05:48.791 --> 00:05:51.291
They are evolved,
changed, of course--

00:05:51.750 --> 00:05:56.500
--Luis was an expert in
the Golden Age of Spanish Literature.

00:05:56.791 --> 00:05:59.083
He knew about
Lope de Vega, Cervantes.

00:05:59.333 --> 00:06:03.666
We mentioned Gracián,
but algo Galdós, you know?

00:06:03.958 --> 00:06:06.375
More contemporary,
much more modern.

00:06:07.083 --> 00:06:11.958
He was nostalgic for something--

00:06:12.166 --> 00:06:16.541
--for the past,
for the 19th century--

00:06:16.875 --> 00:06:21.875
--not for the 20th,
he saw it as technological.

00:06:22.208 --> 00:06:25.833
That was a lie,
he didn't hate technology.

00:06:26.125 --> 00:06:28.041
Those were his contradictions.

00:06:28.291 --> 00:06:35.875
Galdós talked to him,
he read him and took it.

00:06:36.291 --> 00:06:40.166
Many of his movies
come from Galdós--

00:06:40.375 --> 00:06:43.125
--with a twist, of course.

00:06:43.416 --> 00:06:47.833
He lied whenever he said
he didn't have any technique--

00:06:47.833 --> 00:06:50.916
--of course he had.

00:06:51.208 --> 00:06:56.541
The proof is
in the quality of his photographs.

00:06:56.875 --> 00:07:02.791
He had an eye for this,
and he nailed it.

00:07:03.291 --> 00:07:08.291
We see it in the pictures
we have received--

00:07:08.916 --> 00:07:14.791
--we have around
1000 pictures from scoutings--

00:07:15.166 --> 00:07:20.458
--and around 500
from behind the scenes.

00:07:21.041 --> 00:07:28.708
One can see how
his eye found the frame.

00:07:29.625 --> 00:07:36.583
His partnership with
Gabriel Figueroa was very fruitful.

00:07:38.916 --> 00:07:44.666
This is the screenplay for “Nazarín”,
with personal notes--

00:07:44.875 --> 00:07:54.666
--and as usual, he would cross out
the scenes he had already shot.

00:07:55.500 --> 00:08:03.208
It's great to see these notes,
and the scouting pictures--

00:08:03.500 --> 00:08:12.000
--you know these,
you'll go looking for these spots--

00:08:12.291 --> 00:08:21.958
--and prove he took these
as reference for his film.

00:08:22.458 --> 00:08:26.041
We had never talked
about his photographic skills--

00:08:26.333 --> 00:08:32.833
--we knew he owned a Leica,
but didn't know how he used it--

00:08:33.083 --> 00:08:38.041
--until we discovered
this catalogue of over 1000 pics.

00:08:38.541 --> 00:08:42.583
Good luck on your journey
looking for “Nazarín”.

00:09:24.333 --> 00:09:26.875
“Nazarín” was shot here.

00:10:02.500 --> 00:10:07.083
We're in this eyesore,
the Museum of Charrería--

00:10:07.416 --> 00:10:10.833
--which used to be a
convent for some saint--

00:10:11.166 --> 00:10:17.125
--and I used to
live around the corner.

00:10:17.708 --> 00:10:21.458
I would come here
because I knew Buñuel--

00:10:22.208 --> 00:10:25.875
--and I came every day.
But it has changed a lot--

00:10:26.166 --> 00:10:30.125
--I don't know why
you wanted to shoot here.

00:10:34.666 --> 00:10:38.716
Hot tamales! Tamales!

00:10:43.250 --> 00:10:47.333
Come for your
hot tamales!

00:11:18.375 --> 00:11:26.125
These are the tapes with
a Buñuel interview about “Nazarín”.

00:11:26.458 --> 00:11:32.250
Barbachano was the one who told me,
“This is not Mexican--

00:11:32.250 --> 00:11:37.041
--when the prostitutes
insult Nazarín in his room.”

00:11:37.250 --> 00:11:44.291
Mexican women from that time
wouldn't insult a priest.

00:11:46.625 --> 00:11:51.041
Look who opened his trap,
you rotten priest!

00:11:51.375 --> 00:12:00.375
On the lot, Buñuel was
dry, authoritarian.

00:12:00.958 --> 00:12:07.958
He was like a dragon,
but with a great sense of humor.

00:12:08.250 --> 00:12:15.833
That's how he directed,
always between roar and laughter.

00:12:16.083 --> 00:12:22.625
My job was being part
of the prostitutes trio--

00:12:22.958 --> 00:12:29.500
--we were three or four,
and he enjoyed it very much--

00:12:29.708 --> 00:12:36.458
--and they were
very colorful characters.

00:12:36.750 --> 00:12:38.541
We wore tons of make up.

00:12:39.208 --> 00:12:47.041
It was a brief scene,
and then nothing else, but--

00:12:47.375 --> 00:12:56.958
--we felt as if we were
the leads from start to finish.

00:12:58.750 --> 00:13:03.666
Buñuel is obviously
very anti-church.

00:13:03.875 --> 00:13:10.416
Even the sight of a cassock
would get him worked up.

00:13:10.625 --> 00:13:15.750
However, he was very religious--

00:13:16.291 --> 00:13:19.666
--there's religion
as an institution--

00:13:19.916 --> 00:13:22.041
--and spirituality in life.

00:13:22.375 --> 00:13:24.208
Those are two different ideas.

00:13:24.541 --> 00:13:31.750
Buñuel was worried
about the sense of life--

00:13:32.208 --> 00:13:34.583
--you could see it
in his movies.

00:13:45.791 --> 00:13:48.875
Those were important times--

00:13:49.083 --> 00:13:56.083
--and matched with his
religious doubts and atheism--

00:13:56.708 --> 00:14:01.541
--maybe not so much,
but there was something there.

00:14:02.916 --> 00:14:08.625
We've talked about
his relationship with Virgin Mary--

00:14:10.000 --> 00:14:14.125
--he said he masturbated
in front of the Virgin--

00:14:14.375 --> 00:14:16.208
--because he was so excited.

00:14:16.416 --> 00:14:19.125
I don't know if that's true,
but you know him.

00:14:19.541 --> 00:14:21.875
He loved to talk
about religion.

00:14:22.208 --> 00:14:29.375
I was 8 when I studied
with the Jesuits, until I was 14, 15--

00:14:29.666 --> 00:14:33.791
--I finished high school at 17,
so I was out of there by 15.

00:14:34.250 --> 00:14:37.375
So your masturbation
was totally Jesuit.

00:14:37.583 --> 00:14:39.250
I don't know the meaning
of masturbation, sir.

00:14:39.250 --> 00:14:47.666
He found a hunger
to make a unique film.

00:14:47.958 --> 00:14:57.416
He was an atheist,
but he was very spiritual.

00:14:57.708 --> 00:15:02.291
He was clear about
that other side of the human being.

00:15:02.541 --> 00:15:05.375
But I loved his atheism.

00:15:06.416 --> 00:15:10.875
He knew I loved him
and respected him--

00:15:11.125 --> 00:15:14.333
--I was proud that
he was her godfather.

00:15:14.833 --> 00:15:21.458
“Don Luis, look at her,
she's so beautiful...”

00:15:21.750 --> 00:15:25.208
“Alright, but we'll do it
at your house!”

00:15:25.625 --> 00:15:30.958
We took the priest
to our home, and he kept--

00:15:31.208 --> 00:15:37.083
--moving and he couldn't
stay put, so--

00:15:37.375 --> 00:15:41.958
--the priest would say
“I believe,” and turn to him--

00:15:43.875 --> 00:15:46.875
“– What did you say?
– That I believe!”

00:15:47.291 --> 00:15:51.708
We made him say
everything that he had to.

00:15:52.000 --> 00:15:58.833
Every time he had to say
“I believe,” he did. I kid you not.

00:15:59.250 --> 00:16:06.875
He was very respectful.
One time in LIFE Magazine--

00:16:07.458 --> 00:16:11.750
--he told them
“I'm an atheist, thank God!”

00:16:12.041 --> 00:16:16.208
Those quotes,
he said it and it was funny--

00:16:16.416 --> 00:16:21.166
--but  they had
an authentic background.

00:16:48.166 --> 00:16:52.375
Let them come and smell,
bad smells go away with fire.

00:17:26.083 --> 00:17:29.875
“Nazarín” was shot here
in Tlayacapan.

00:18:02.625 --> 00:18:10.833
In “Nazarín” we see how
Buñuel's work during scoutings--

00:18:11.291 --> 00:18:23.250
--and planning, managed to build
his films beforehand.

00:18:24.208 --> 00:18:33.208
We can see that in his pictures,
from scouting and pre-production--

00:18:33.458 --> 00:18:40.791
--what he achieves
when the time to shoot comes.

00:18:56.708 --> 00:18:59.791
“Nazarín” was shot here
in Atlatlahucan.

00:19:47.666 --> 00:19:50.166
Alms, for the love of God.

00:19:52.166 --> 00:19:54.125
May the Lord repay you.

00:20:06.416 --> 00:20:09.500
– Father Nazario.
– Hello, Beatriz.

00:20:09.875 --> 00:20:12.666
It's a miracle to find you.

00:21:28.166 --> 00:21:31.416
Give her health, Lord.

00:21:32.000 --> 00:21:34.791
I offer you my health
and my life in exchange--

00:21:35.041 --> 00:21:43.041
--and I'll take all of the symptoms
and the pain possible.

00:21:44.458 --> 00:21:47.458
Help us, Lord of Chalma!

00:21:48.041 --> 00:21:53.000
– Help us, Lord!
– Go away from this house, demon!

00:21:53.000 --> 00:21:58.416
Go away, Satan.
You won't get her. Oh, Jesus!

00:21:58.625 --> 00:22:01.958
Help us with
your holy touch!

00:22:15.291 --> 00:22:21.541
Religious devotion in Mexico
is truly disturbing.

00:22:22.000 --> 00:22:32.250
I think Buñuel was touched
by those feelings and contradictions.

00:22:32.666 --> 00:22:38.750
Like my mom says,
“Nazarín” reflects on religion--

00:22:39.583 --> 00:22:46.625
--through that playful,
Catholic surrealism.

00:22:46.916 --> 00:22:53.666
He comes from a specific place
near Zaragoza and the Virgin of Pilar--

00:22:54.500 --> 00:23:01.625
--and Mexico offers him
a new point of view on religion.

00:23:38.791 --> 00:23:42.666
That film was shot here
in Tetelcingo.

00:24:05.750 --> 00:24:08.416
We talk about his
'Mexican phase' but--

00:24:08.666 --> 00:24:12.750
--two thirds of his films
is not just a phase.

00:24:14.708 --> 00:24:20.541
I always get nostalgic,
because of his authenticity--

00:24:20.791 --> 00:24:27.583
--he was interested in people
and places, you can tell by his films--

00:24:27.916 --> 00:24:35.375
--and it moves me because it was
before this second destruction of Mexico.

00:24:35.875 --> 00:24:40.000
The downfall of culture
by plastics these days.

00:24:54.916 --> 00:24:58.833
– Poor animal, it broke its leg.
– Useless beast!

00:24:59.541 --> 00:25:01.583
Be patient, colonel.

00:25:02.750 --> 00:25:06.500
– I told you not to bring it!
– Just what we needed!

00:25:06.916 --> 00:25:14.208
These animals feel superior,
and they go and pull a muscle.

00:25:25.791 --> 00:25:35.458
I was on the last day of shooting,
near the volcanoes of Izta-Popo.

00:25:36.833 --> 00:25:46.041
Figueroa saw the volcanoes,
covered in snow, against the sky--

00:25:46.541 --> 00:25:50.916
--he got all excited with his filters,
and my dad said no--

00:25:51.250 --> 00:25:58.541
--he pointed to the trail,
with some trees.

00:25:59.416 --> 00:26:04.541
He didn't want a pretty,
artsy landscape.

00:26:05.375 --> 00:26:08.291
Like Buñuel,
I don't like blind people.

00:26:08.583 --> 00:26:10.166
I don't like spiders.

00:26:10.458 --> 00:26:14.541
I was born in arid Calanda,
and I like the woods.

00:26:14.916 --> 00:26:16.541
I like to be early.

00:26:16.958 --> 00:26:20.416
I don't get politics,
I don't.

00:26:20.750 --> 00:26:23.375
I love costumes
since I was a kid.

00:26:23.666 --> 00:26:25.875
I like stories about travels.

00:26:26.083 --> 00:26:33.041
I liked wine,
games and women--

00:26:33.250 --> 00:26:35.708
--everything!
I was a rascal.

00:26:36.208 --> 00:26:37.875
I like dressing up.

00:26:38.291 --> 00:26:41.333
I like rain,
because it feeds us.

00:26:41.541 --> 00:26:43.791
I don't like publicity or ads.

00:26:44.208 --> 00:26:48.083
I hate crowds,
and I live in Mexico--

00:26:48.416 --> 00:26:50.333
--by chance.

00:26:58.125 --> 00:26:59.958
Why are you following me?

00:27:00.166 --> 00:27:04.958
– It's a free country!
– We want to repent and learn.

00:27:05.208 --> 00:27:10.291
If you want to repent,
do it by yourselves--

00:27:10.916 --> 00:27:15.541
--to each his own.
– We won't bother you, just go.

00:27:15.791 --> 00:27:19.083
We are good with you,
and you mistreat us.

00:27:19.333 --> 00:27:22.625
If you abandon us,
what's going to happen?

00:27:22.916 --> 00:27:25.250
Alright, come with me--

00:27:25.500 --> 00:27:27.916
--but you'll promise to be decent--

00:27:27.916 --> 00:27:32.333
--be obedient and let me be.

00:28:34.541 --> 00:28:36.125
Don't touch him!

00:28:36.791 --> 00:28:39.416
Don't touch him, don Nazario!
It's the plague!

00:28:39.625 --> 00:28:44.875
Everybody's leaving town.
Let's go back. C'mon, father.

00:30:05.708 --> 00:30:12.875
Luis told me that the film
was about the plague--

00:30:13.166 --> 00:30:21.958
--but he didn't have
enough money to shoot it.

00:30:22.541 --> 00:30:33.541
So he said it all
with one unforgettable image--

00:30:33.875 --> 00:30:40.500
--a girl walking through
an empty street, crying.

00:30:41.250 --> 00:30:46.875
For me, one of his
most powerful images.

00:30:47.500 --> 00:30:51.041
I saw a street,
while I was doing something there.

00:30:51.041 --> 00:30:55.416
I saw an empty street,
and looked for the plague there.

00:30:55.791 --> 00:31:02.083
And it happens a lot,
I'm not bright, but I'm creative--

00:31:02.458 --> 00:31:05.625
--it came to me:
a girl walking.

00:31:06.625 --> 00:31:10.583
I wanted her to carry
a long blanket, but it wrinkled.

00:31:36.958 --> 00:31:43.250
Don Luis had made
these poetic surreal films--

00:31:44.666 --> 00:31:48.458
--full of poetic imagery,
and on top of that, silent films--

00:31:48.791 --> 00:31:51.833
--where the image was
absolutely important--

00:31:52.833 --> 00:31:59.958
--that hand with the ants,
it's actual poetry.

00:32:00.250 --> 00:32:09.125
And then he told stories,
but still with a poetic element.

00:32:09.583 --> 00:32:18.500
“Nazarín” is important because
we rediscovered the poetic Buñuel.

00:32:19.458 --> 00:32:25.333
He always had touches
of magic, and a lot of freedom--

00:32:27.041 --> 00:32:34.333
--but he definitely brought back
that special look--

00:32:34.625 --> 00:32:39.541
-- so unusual for
Mexican cinema back then--

00:32:40.041 --> 00:32:44.500
--to have a filmmaker
with so much creative freedom.

00:32:44.500 --> 00:32:49.916
He was very fast,
and worked on being under budget.

00:32:50.250 --> 00:32:55.708
He filmed what he wanted,
that's a huge lesson for me.

00:32:55.708 --> 00:33:01.041
The way he shoots,
there will always be poetry--

00:33:01.291 --> 00:33:06.625
--not only in his surreal images,
but within his ideas.

00:33:07.000 --> 00:33:11.208
He tackled social issues,
with authenticity--

00:33:11.458 --> 00:33:16.625
--and theology,
creating a poetic philosophy.

00:33:16.958 --> 00:33:22.000
That's why he was
misunderstood back in the day--

00:33:22.208 --> 00:33:27.083
--and he remains
a universal filmmaker.

00:33:27.458 --> 00:33:33.750
Leave those worldly passions,
the Lord wants you to reflect--

00:33:34.166 --> 00:33:36.583
--think about Heaven,
waiting for you.

00:33:37.375 --> 00:33:40.833
Not Heaven. Juan.

00:33:41.250 --> 00:33:46.375
As a priest I tell you,
you'll be saved if you repent.

00:33:47.541 --> 00:33:49.666
Juan...

00:33:53.000 --> 00:33:59.541
He put up a wall,
but he was respectful, if not tender--

00:33:59.541 --> 00:34:01.500
--he was a wonderful character.

00:34:01.833 --> 00:34:07.375
I had to have vomit,
and he gave me some oatmeal.

00:34:08.541 --> 00:34:11.625
That's the way he was,
close and afar.

00:34:11.916 --> 00:34:16.500
His presence was there,
but he let you be.

00:34:18.583 --> 00:34:23.458
Because of his
closeness with the surrealists--

00:34:23.833 --> 00:34:28.916
--he got all Marquis de Sade,
and he took the script--

00:34:29.250 --> 00:34:33.500
--and told me that
dying people don't talk that much.

00:34:34.583 --> 00:34:39.208
He said: “No Heaven. Juan.”

00:34:39.458 --> 00:34:43.083
That scene talked to me,
it was so deep--

00:34:43.291 --> 00:34:49.041
--she was a twentysomething
that chooses a love life, over God.

00:35:08.333 --> 00:35:13.875
I failed, my child.
May God have mercy on her soul.

00:35:14.833 --> 00:35:18.416
I used to love like that.

00:35:20.625 --> 00:35:23.166
I was interested in
this man's purity--

00:35:23.416 --> 00:35:27.958
--he was very sincere,
he had great humanity.

00:35:28.291 --> 00:35:31.375
He was moved by
a theory, a belief, an ideology.

00:35:31.583 --> 00:35:33.833
And he failed in the real world.

00:35:34.083 --> 00:35:48.791
Another important value
for any artist looking to express himself--

00:35:49.625 --> 00:35:51.750
--being able to be synthetic.

00:35:52.500 --> 00:35:57.083
Being able to express more
with less elements.

00:35:57.583 --> 00:36:03.791
“No heaven. Juan,” is perfect,
you can't say more with less than that.

00:36:04.125 --> 00:36:08.125
Only three words and that's it.

00:36:29.583 --> 00:36:32.166
We have nothing to do here.

00:36:32.541 --> 00:36:35.208
We're in the Fundación Televisa vault--

00:36:35.416 --> 00:36:41.083
--looking for pictures by
Manuel Álvarez Bravo, from “Nazarín”.

00:37:00.000 --> 00:37:05.750
Here we have Luis Buñuel,
directing a scene from “Nazarín”.

00:37:08.541 --> 00:37:16.958
The most important thing from
the rescue of this catalogue--

00:37:17.791 --> 00:37:22.625
--was finding,
within documents of Clasa Films--

00:37:22.833 --> 00:37:28.375
--a folder of over 900 negatives,
in a 6x6 format--

00:37:28.375 --> 00:37:35.875
--by Álvarez Bravo, the most relevant
figure in Mexican photography.

00:37:36.375 --> 00:37:46.541
We should know that during
his vast work in “Nazarín”--

00:37:46.958 --> 00:37:55.750
--he noticed it wasn't
just another movie, like others--

00:37:56.750 --> 00:38:02.250
--Lucha Libre films,
or more commercial movies--

00:38:02.625 --> 00:38:14.708
--but here he was collaborating
with Figueroa and Buñuel.

00:38:14.958 --> 00:38:24.750
He was an author for whom
time and waiting were important--

00:38:25.083 --> 00:38:33.000
--there was a famous quote
in his laboratory--

00:38:33.333 --> 00:38:37.416
--written on a piece of paper,
it said: “There's time, there's time.”

00:38:39.000 --> 00:38:44.000
That scene where the girl
drags the blanket--

00:38:44.458 --> 00:38:49.791
--it was a fluke,
don Manuel made her cry--

00:38:50.083 --> 00:38:55.500
--he told her
to go away or something--

00:38:55.750 --> 00:39:04.750
--and the girl started crying,
and he took the chance.

00:39:09.958 --> 00:39:18.500
Some pictures are just gorgeous,
like this one with the blanket--

00:39:19.625 --> 00:39:29.625
From these similar three,
there's one from the actual scene--

00:39:30.000 --> 00:39:33.791
--but we have this one,
which is incredible--

00:39:34.208 --> 00:39:42.875
--he plays with shadows,
a dark shadow out of a white sheet--

00:39:43.166 --> 00:39:51.541
--and the girl in the middle,
it's a metaphor with multiple readings.

00:40:15.708 --> 00:40:20.625
Both Álvarez Bravo and Figueroa
wrote poetry with pictures.

00:40:21.000 --> 00:40:27.250
That was don Luis'
emotional support for his films.

00:40:39.416 --> 00:40:45.416
This portrait of Buñuel
eating by himself, very serious--

00:40:45.750 --> 00:40:53.708
--a magical moment captured
by Álvarez Bravo, excellent.

00:40:54.541 --> 00:40:59.416
It's one of my favorite portraits
I've seen of don Luis.

00:40:59.708 --> 00:41:08.125
I was surprised how he would
go by himself during the shoot--

00:41:08.125 --> 00:41:10.333
--eating nuts.

00:41:10.708 --> 00:41:17.625
He was focused on his own
personal, wonderful world.

00:41:17.875 --> 00:41:21.791
It must be wonderful,
the world of Luis Buñuel.

00:41:22.333 --> 00:41:28.333
You could see him creating,
God knows how he let you know.

00:41:28.625 --> 00:41:30.666
That's my memory of Buñuel.

00:41:30.958 --> 00:41:36.625
Buñuel was dry about his look,
his tone was dry--

00:41:36.958 --> 00:41:42.000
--he wasn't quiet.
He was final.

00:41:42.541 --> 00:41:49.208
But he was also concerned about
humanity and their differences--

00:41:50.000 --> 00:41:53.458
--Buñuel was unique.

00:41:53.791 --> 00:42:05.333
The portrait where he sits
in front of the spotlight--

00:42:05.958 --> 00:42:10.833
--it blows your mind,
that look on his face--

00:42:11.250 --> 00:42:16.291
--the composition is tight,
but it also feels improvised--

00:42:16.583 --> 00:42:22.166
--some details in the picture
are not supposed to be there--

00:42:22.500 --> 00:42:26.666
--like this tree popping in,
breaking the circle here--

00:42:27.166 --> 00:42:34.333
--it's clear one doesn't create this,
it's a document--

00:42:34.625 --> 00:42:40.708
--but it's also interesting
how he framed it--

00:42:41.166 --> 00:42:48.208
--the way the hand
looks crooked--

00:42:48.500 --> 00:42:53.750
--the spotlight behind the subject.

00:42:54.083 --> 00:43:03.375
It's clear this wasn't taken
by some random man with a camera--

00:43:03.375 --> 00:43:10.208
--you can tell the eyes
of the photographer did this.

00:43:13.666 --> 00:43:15.750
I like little people.

00:43:16.750 --> 00:43:19.375
I always direct by gestures.

00:43:20.250 --> 00:43:22.333
I'm an enemy of Psychology.

00:43:22.625 --> 00:43:25.166
Besides, that little guy wasn't an actor.

00:43:25.500 --> 00:43:28.125
I'm a terrible actor.

00:43:28.375 --> 00:43:36.041
I always tell the actors: I want this,
I'm not an actor, so you do it better.

00:43:37.708 --> 00:43:40.958
The little person wasn't an actor,
he was a shoeshine.

00:43:41.333 --> 00:43:43.208
He's one of the best in the movie.

00:43:43.750 --> 00:43:51.416
Ujo, the little person, that's also
from Galdós, and Spanish Realism--

00:43:51.958 --> 00:44:01.541
--because our greatest painters,
like Velázquez and many more--

00:44:01.875 --> 00:44:04.708
--they painted little people,
and court buffoons--

00:44:05.041 --> 00:44:12.166
--because the Habsburgs
used them--

00:44:12.500 --> 00:44:16.250
--to look better in portraits
next to them.

00:44:16.625 --> 00:44:21.166
They were such fuckers.

00:44:22.666 --> 00:44:25.958
– Let's break the piñata!
– Lower him, I can't reach.

00:44:26.208 --> 00:44:30.041
You thieves,
if you touch me I'll kill you!

00:44:30.500 --> 00:44:33.666
Help! They want to rob me!

00:44:34.291 --> 00:44:40.083
He's a little person from
Spanish Realism, the picaresque novel.

00:44:44.875 --> 00:44:49.666
I care about you.
Sit down, let's talk.

00:44:50.416 --> 00:44:55.708
Good morning,
I'll wash this clothes. Hold on.

00:44:56.666 --> 00:45:00.000
Ujo comes with us!
He says he cares about me.

00:45:00.458 --> 00:45:04.875
Love is so sweet.
Do you really love her?

00:45:05.166 --> 00:45:10.166
Of course I do!
You're ugly, and easy--

00:45:10.666 --> 00:45:16.916
--and I've never loved,
but as soon as I saw you, I did.

00:45:17.416 --> 00:45:19.916
You see?
He's my boyfriend!

00:45:20.583 --> 00:45:24.958
Goodbye!
Bye, Ujito!

00:45:27.416 --> 00:45:29.666
Goodbye, little guy!

00:45:40.958 --> 00:45:45.375
There's an anecdote
I like about Luis Buñuel--

00:45:46.875 --> 00:45:53.916
--the producer told him to cut
every time the little guy--

00:45:54.125 --> 00:45:58.833
--who was important
in “Nazarín”--

00:45:59.083 --> 00:46:02.833
--every time he said “fuck”,
and “fuck this”, “fuck that”--

00:46:03.125 --> 00:46:05.791
--we couldn't say that--

00:46:06.083 --> 00:46:13.208
--so Buñuel told him to change
every “fuck” to “muck”--

00:46:13.541 --> 00:46:16.041
“Muck!” with the same intensity.

00:46:16.041 --> 00:46:21.083
“Everytime you say muck
think about fuck,” that's it.

00:46:21.458 --> 00:46:25.208
That's how Buñuel solved it.

00:46:25.958 --> 00:46:30.000
Everytime you say muck,
think about fuck.

00:47:58.416 --> 00:48:04.208
The priest takes a bug,
and puts it on his hand--

00:48:05.333 --> 00:48:05.375
--and that doesn't mean
that in the final draft of the film--

00:48:10.958 --> 00:48:16.125
--it's just a way to say
that the priest--

00:48:16.375 --> 00:48:19.833
--he is far from having
a chance with that woman.

00:48:20.708 --> 00:48:26.291
Of course she would like that,
even a sexual relationship--

00:48:26.583 --> 00:48:30.333
--but he's absolutely far from that.

00:48:30.541 --> 00:48:34.916
And that way to express it,
not even in dialogue--

00:48:35.166 --> 00:48:41.916
--or the woman's spirit,
but in that insect that distracts him--

00:48:42.208 --> 00:48:49.458
--and critics have been looking
for a deeper meaning--

00:48:49.666 --> 00:48:53.000
--and he finds that funny.

00:48:53.291 --> 00:48:58.583
I think he managed
to portray his theology--

00:48:58.916 --> 00:49:02.166
--with social issues.

00:49:02.166 --> 00:49:04.708
That's why it's a short,
synthetic film--

00:49:04.958 --> 00:49:08.625
--but the most precise,
and possibly his greatest film--

00:49:08.833 --> 00:49:11.500
--because of that synthesis.

00:49:12.208 --> 00:49:14.416
I love it, it's definitely
one of my favorites--

00:49:14.625 --> 00:49:18.958
--along with “Simon of the Desert”,
they made me love cinema--

00:49:18.958 --> 00:49:22.333
--along with a few others.
And that's enough.

00:49:22.625 --> 00:49:26.333
It's one of the few
honest filmmakers--

00:49:26.333 --> 00:49:30.625
--not looking for a great script
that will make them famous.

00:49:30.916 --> 00:49:34.416
His work is coherent,
and he knows what he's saying--

00:49:34.666 --> 00:49:37.166
--deeper and bigger each time.

00:49:38.041 --> 00:49:42.958
He didn't know Paco Rabal--

00:49:42.958 --> 00:49:49.500
--but the producers needed
a famous Spanish actor--

00:49:50.041 --> 00:49:52.583
--for production value.

00:49:53.583 --> 00:50:04.208
Rabal flew to Mexico, they met
and they became friends, for life.

00:50:04.791 --> 00:50:16.458
He was one of two Spanish actors
who were reflections of Buñuel--

00:50:16.958 --> 00:50:25.208
Fernando Rey was his distinguished side--

00:50:25.833 --> 00:50:28.791
--and Paco was his
popular side.

00:50:29.166 --> 00:50:38.041
They were the two sides
of Buñuel's Spanish portrait.

00:50:38.291 --> 00:50:46.125
Paco met him through
Julio Alejandro, his co-writer.

00:50:46.791 --> 00:50:52.000
We knew each other
from Spanish theatre.

00:50:52.291 --> 00:50:59.875
They met in Mexico, and worked
together on these wonderful films.

00:51:00.500 --> 00:51:07.625
Buñuel asked for a 30 year-old
with an Arabian look--

00:51:07.625 --> 00:51:12.541
--and Julio immediately
suggested Paco Rabal.

00:51:13.333 --> 00:51:16.458
He requested to see him--

00:51:16.750 --> 00:51:21.375
--and they showed him
a scene of “Radio Stories”--

00:51:21.708 --> 00:51:25.458
--he sent for him, and--

00:51:26.041 --> 00:51:30.708
--the producer came
looking for him--

00:51:31.000 --> 00:51:36.375
--and Paco was doing theatre,
and they offered him an American film--

00:51:36.916 --> 00:51:40.875
--a big production
with Ava Gardner--

00:51:41.291 --> 00:51:46.166
--and then Buñuel,
but Paco knew who he was--

00:51:46.500 --> 00:51:52.750
--so he dropped the American film
and shot “Nazarín” with him.

00:51:54.333 --> 00:51:59.708
He loved life,
he was happy, joyful--

00:52:00.125 --> 00:52:03.125
--very charming, indeed.

00:52:03.666 --> 00:52:07.041
And he was a flirt, of course.

00:52:07.750 --> 00:52:12.375
“No, Paco! Hands off, Paco!”

00:52:12.750 --> 00:52:16.833
“Of course, of course!”

00:52:17.083 --> 00:52:26.208
He didn't care,
we had a great time, at the clubs--

00:52:26.750 --> 00:52:32.208
--to the club of the moment.

00:52:33.291 --> 00:52:35.291
We had a blast.

00:52:35.875 --> 00:52:38.541
I always wanted
to work with him--

00:52:39.833 --> 00:52:46.750
--the way he delivered his lines,
the weight of his persona--

00:52:47.125 --> 00:52:53.541
--I finally did, in a film
about Nueva Jerusalén--

00:52:53.916 --> 00:52:58.375
--a misunderstood film--

00:52:58.750 --> 00:53:04.541
--because they thought
we were criticizing, but--

00:53:04.916 --> 00:53:13.541
--we wanted to look at it
from the inside, from the gut--

00:53:14.000 --> 00:53:17.625
--and we always considered Rabal.

00:53:18.125 --> 00:53:25.000
We were lucky enough that
he was interested and said yes.

00:53:25.583 --> 00:53:29.375
We started working
and I insisted that--

00:53:29.791 --> 00:53:33.750
--it was “Nazarín”
after the psychedelia.

00:53:34.541 --> 00:53:44.541
Rabal's character became
the High Priest of this group--

00:53:45.416 --> 00:53:49.041
--after being father Nazario.

00:53:56.250 --> 00:54:00.583
Mamá Tomasa already told you,
no more movies--

00:54:01.041 --> 00:54:02.791
--don't be a smartass.

00:54:03.291 --> 00:54:11.791
You shouldn't forbid
moving pictures, like the Moors.

00:54:12.125 --> 00:54:18.125
But what can you expect,
from beasts like those?

00:54:19.083 --> 00:54:23.291
Mamá Tomasa said,
“Don't watch movies, watch me.”

00:54:23.708 --> 00:54:27.000
– God talked to her?
– Who else?

00:54:27.333 --> 00:54:32.958
With the machine and all.
Please, Papá Basilio, don't fight.

00:54:33.833 --> 00:54:38.083
Leave one, for me.

00:55:10.083 --> 00:55:19.208
At the time, a Mexican committee
chose movies for Cannes--

00:55:19.541 --> 00:55:25.666
--and Ismael Rodríguez's “The Soldiers
of Pancho Villa” came out the same year--

00:55:26.083 --> 00:55:31.375
--starring Pedro Armendariz,
Emilio Fernández, and María Félix.

00:55:31.958 --> 00:55:42.083
And the committee chose it,
because they hated “Nazarín”--

00:55:43.041 --> 00:55:49.000
--and they said “The Soldiers
of Pancho Villa” was colorful and joyful.

00:55:50.958 --> 00:55:53.791
This is the one I like.

00:55:55.708 --> 00:55:57.500
– It's too expensive.
– Well, of course.

00:55:58.041 --> 00:56:00.333
– You don't want to sell it?
– Not for that much.

00:56:00.333 --> 00:56:02.791
– Twenty pesos, c'mon.
– Are you serious?

00:56:03.041 --> 00:56:05.125
If I had money,
I wouldn't be fighting.

00:56:05.458 --> 00:56:08.958
Take it, I'll buy it for you.

00:56:11.083 --> 00:56:13.875
– Take it, marchanta.
– It's a gift.

00:56:13.875 --> 00:56:16.375
Take it, c'mon.

00:56:16.833 --> 00:56:24.958
That was the Mexican image
for international festivals.

00:56:25.333 --> 00:56:28.791
None of those
depressed, lost priests.

00:56:29.458 --> 00:56:37.875
And the festival invited
Barbachano and Buñuel--

00:56:38.166 --> 00:56:40.875
--to screen the film.

00:56:41.666 --> 00:56:45.083
And it won the Jury Prize, I think.

00:56:47.125 --> 00:56:51.916
And the team behind “The Soldiers
of Pancho Villa” was very sad--

00:56:52.375 --> 00:56:56.416
--when they realized nobody
at Cannes cared about them--

00:56:56.708 --> 00:57:01.166
--and “Nazarín”, mocked in Mexico--

00:57:01.708 --> 00:57:06.125
--was praised as
a fantastic masterpiece.

00:57:06.666 --> 00:57:14.833
Fernández was tacky, cheesy,
and Buñuel was dry, austere--

00:57:15.583 --> 00:57:19.166
--Figueroa was also cheesy.

00:57:19.458 --> 00:57:22.666
Mexicans are very cheesy.

00:57:22.875 --> 00:57:27.833
And that dryness of Buñuel
was amazing, because--

00:57:28.208 --> 00:57:31.875
--he was always dry,
with his relationships--

00:57:32.208 --> 00:57:38.875
--he didn't want to be bothered,
he had his personal space.

00:57:39.916 --> 00:57:44.958
“Nazarín” went to the
Cannes Film Festival, and--

00:57:45.958 --> 00:57:58.166
--it was a touch of Buñuel's
relationship with true Catholicism--

00:57:59.666 --> 00:58:03.333
--our holy religion.

00:58:03.875 --> 00:58:10.750
It wasn't controversial,
he wasn't anti-Christian.

00:58:11.250 --> 00:58:19.458
He was an atheist, but
he didn't want to fight with priests--

00:58:19.875 --> 00:58:27.041
--no way, they were just
human beings, and--

00:58:27.625 --> 00:58:34.458
--he was interested in
the humanity of a priest in “Nazarín”.

00:58:34.958 --> 00:58:36.708
A Mexican priest.

00:58:37.750 --> 00:58:44.708
And just like he did afterwards
with Christ in “The Milky Way”--

00:58:45.000 --> 00:58:48.791
--he shows us that he's a man.

00:58:49.500 --> 00:58:52.166
You would like
to change your life, huh?

00:58:53.625 --> 00:58:56.791
Would you like
to change yours?

00:58:57.250 --> 00:58:59.000
How could I?

00:59:01.916 --> 00:59:11.125
I'm just a bad guy,
and your life is useless.

00:59:11.750 --> 00:59:15.500
You're good, and I'm not.

00:59:15.708 --> 00:59:18.833
We're both useless.

00:59:21.375 --> 00:59:25.750
Unfortunately, I only worked
with him in “Nazarín”--

00:59:26.125 --> 00:59:32.875
--and I only had one scene,
as the Good Thief.

00:59:33.583 --> 00:59:39.791
It's a meaty character. Brief, but--

00:59:41.166 --> 00:59:45.833
--with a lot of depth,
he has a lot to say--

00:59:46.208 --> 00:59:50.625
--that small conversation
with Nazarín, well--

00:59:51.166 --> 00:59:58.333
--it's the essence of what
the author had to say.

00:59:58.666 --> 01:00:04.750
You and I, priest and thief--

01:00:05.208 --> 01:00:07.333
--we're useless.

01:00:08.500 --> 01:00:12.708
At the end of the day,
we're nothing.

01:00:16.250 --> 01:00:21.583
Attention. Pick up your stuff,
we leave in five minutes.

01:00:22.625 --> 01:00:25.208
Make a line out there.

01:00:27.041 --> 01:00:28.708
Sergeant!

01:00:29.083 --> 01:00:32.833
Where is father Nazario?
He's not coming with us?

01:00:35.041 --> 01:00:36.291
Where is he?

01:00:36.833 --> 01:00:40.916
We shot our scene in Cocoyoc--

01:00:41.500 --> 01:00:48.958
--in an old Mexican ranch
with beautiful architecture--

01:00:49.333 --> 01:00:55.541
--and now it is a great
tourist destination.

01:02:39.833 --> 01:02:43.833
“Nazarín” was shot here
in Yecapixtla.

01:02:44.125 --> 01:02:50.708
Nazarín doubts about
the existence of God and kindness--

01:02:51.041 --> 01:02:58.041
--he's walking, and a woman
gives him a pineapple.

01:02:59.291 --> 01:03:05.125
At first, Paco was supposed
to reject the pineapple--

01:03:05.375 --> 01:03:10.916
--but he doesn't buy that,
so he grabs it, but--

01:03:11.208 --> 01:03:12.958
--doubtful, and walks away.

01:03:13.333 --> 01:03:19.083
Paco spent an hour
getting into character and all--

01:03:19.416 --> 01:03:23.625
--they were rolling,
and my father said:

01:03:24.000 --> 01:03:28.125
“In Toluca, they'll think
Nazarín hates pineapples.”

01:03:28.125 --> 01:03:33.833
Everybody laughed, even Paco
with all his preparation--

01:03:34.083 --> 01:03:36.291
--then he did it more casual.

01:03:37.125 --> 01:03:41.708
It's a way of perverting what
we had said before--

01:03:42.000 --> 01:03:49.958
--to get what couldn't be
taken without surprise.

01:03:50.375 --> 01:03:56.708
You can't describe
those drums at the end.

01:03:57.000 --> 01:04:02.208
You can't picture “Nazarín”
without them--

01:04:02.500 --> 01:04:06.250
--it would be ordinary, dull.

01:04:06.666 --> 01:04:13.416
With those drums,
it becomes scary, sad--

01:04:14.291 --> 01:04:18.416
--it's sort of melancholic.

01:04:18.833 --> 01:04:23.291
When those drums
start playing at the end--

01:04:23.625 --> 01:04:29.625
--he had talked so much
about those drums--

01:04:31.041 --> 01:04:36.708
--that I choked a little bit,
I don't know what happened.

01:04:37.208 --> 01:04:44.958
I was choked up,
it's a special drumroll.

01:04:45.458 --> 01:04:54.541
We only talked
about his feelings then--

01:04:55.041 --> 01:04:58.125
--the connection he had
with those drums--

01:04:58.333 --> 01:05:03.375
--it was a particular sound,
he knew it very well--

01:05:03.875 --> 01:05:11.000
--it became his life partner.
It's curious that he was deaf--

01:05:11.208 --> 01:05:17.000
--the fact that a deaf man's
partner is the sound of drums.

01:05:17.291 --> 01:05:22.166
That was part of his life,
and only his life.

01:05:22.375 --> 01:05:28.958
I don't know anybody else
so attached to a sound.

01:05:29.166 --> 01:05:32.500
Not me, but he was.

01:05:32.791 --> 01:05:41.500
Working on any scene,
any script, he would say:

01:05:41.791 --> 01:05:44.916
“Maybe we could put
some drums in here.”

01:05:44.916 --> 01:05:47.166
He was always tempted--

01:05:47.458 --> 01:05:51.625
--a secret desire of
having drums everywhere.

01:05:57.291 --> 01:06:04.208
It's one of the most
overwhelming endings in history--

01:06:04.500 --> 01:06:10.625
--María Cecilia Leger gives him
a pineapple, for some reason--

01:06:10.916 --> 01:06:17.166
--to a man that won't be able
to eat it, because--

01:06:17.458 --> 01:06:24.291
--you need to clean it,
peel it, you need a blunt object--

01:06:24.500 --> 01:06:28.416
--a pineapple, instead of
a pear, or an apple.

01:06:28.875 --> 01:06:34.250
He has to carry the pineapple,
it's the end of the world.

01:06:34.541 --> 01:06:43.375
That open ending,
with no dry, fierce options--

01:06:44.708 --> 01:06:48.791
--Noé Murayama and Marga López
drive away from him--

01:06:49.166 --> 01:06:56.666
--lines that won't touch each other,
it's just beautiful, gorgeous--

01:06:57.041 --> 01:07:01.875
--and sure, I guess there are drums.

01:07:02.625 --> 01:07:07.666
I've never seen such
a beautiful ending--

01:07:07.958 --> 01:07:14.583
--so touching, so deep,
as the one in this movie.

01:07:14.875 --> 01:07:19.333
That moment got me started.

01:07:25.291 --> 01:07:28.791
Take this, and
may God be with you.

01:07:39.791 --> 01:07:42.750
– Take it.
– No, no.

01:07:51.750 --> 01:07:54.458
May God repay you.

01:08:07.500 --> 01:08:14.916
Whenever we went out
of a place like San José Purúa--

01:08:15.250 --> 01:08:19.708
--he would always
ask the driver to stop--

01:08:20.041 --> 01:08:24.000
--and he would say goodbye.

01:08:24.375 --> 01:08:27.833
Goodbye to San José Purúa,
goodbye to the river.

01:08:28.333 --> 01:08:36.791
“I enjoyed living here.
Goodbye, vultures. Spiders.”

01:08:37.166 --> 01:08:43.625
“We part ways,
but I was happy living here.”

01:08:45.041 --> 01:08:46.000
And then he would go.

01:08:46.416 --> 01:08:53.708
It was a wonderful thing,
it was like saying--

01:08:55.375 --> 01:09:02.875
--he wasn't different from
the land, the houses, the trees--

01:09:03.375 --> 01:09:13.041
--birds, vultures, fish,
flowers, everything else.

01:09:13.666 --> 01:09:18.541
Like feeling he belonged
to something that--

01:09:18.833 --> 01:09:24.000
--it existed before him,
and it'll exist after him.