Last week, we reviewed Viridiana Buñuel’s Spanish homecoming film. With so much emphasis on his return to his home nation, he knew that he had to deliver something particularly provocative, especially under the despotic Francoist regime. What ensued was Buñuel as most symbolically overt. The film follows the titular woman as she is on the cusp of taking her vows in a convent, until her estranged, wealthy uncle invites her to his manor. There she is preyed upon and, in turn, feels guilty for his hasty death. She then inherits the compound and brings in destitute members of the surrounding town in an act of good faith. The film depicts Viridiana being abused by people at all levels of society, who take advantage of her piety and good faith. The film is rife with anti-ecclesiastical sentiment and is by no means ambiguous like the previous films that have been exhibited. Being that Spain is and definitely was very Catholic during the time of its release, Buñuel likely meant to create a vessel to show his beloved countrymen that the tyrannical regime could capitalize on their piety and promote things that would be otherwise unthinkable. Almost immediately after its release, it was banned in Spain, highlighting its incisive nature, but it could be able to be viewed in France. Thus, providing the rest of the European world with an allegorical depiction of life under Spain’s last dictatorship.