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Nazario. 1958. Inseglet sjunde

Luis Buñuel

claimed to be atheist but I was fascinated with the theological issues including those directly related to the clergy. Contrary to the usual optical reflecting the dispossessed or the disabled, religious people generally had positive traits. "Nazario" is the portrait of an earthly being too close to sainthood. "Buñuel's version of the life of Jesus," said a friend exaggerated.

film is sluggish and a conventional plot, is isolated from large-scale surrealism, but reveals some hints of it. The reason is that it is based on the realist novel of the same name written by Benito Perez Galdos in 1895. Buñuel respects the protagonist's deep Christian spirit and projects a human being gentle, kind, compassionate and too complacent.


Father Nazario blanket in his home to prostitutes and outcasts and therefore is forced to leave, to wander through the most diverse regions. The constant is the preaching by word and action of Christian precepts. In their flight is accompanied by two women who are seduced by its tranquility and knowledge, seek spiritual peace after living with little modesty.

This contradiction of principles, a hermit with two disciples of questionable reputation, cause malaise and is sentenced to prison. Nazario is put in captivity with the worst kind of people who abused and reviled but he does not cease in its serenity.

Despite this being sui generis tape in the filmography of director of Aragon, due to the conventional scheme and the way they deal with are visible details that reveal their origin. Five are the mythical images and which will provide the seed being utterly obscure and debatable: the kiss becomes bite, pose style "Linda Blair" Exorcist-in-the whore, she only involved in the white sheet in the middle of nowhere, pineapple given to cure by the seller and the Christ who laughs. The overall result is a paradox because while the father Nazario is the Christian ideal, the latter and controversial picture perfectly reflects the irreverence and fun than ever attended religious views Calanda director.

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Det. (The Seventh Seal). Le Locataire

Ingmar Bergman

is not even difficult to imagine the dramatic situation experienced by the fourteenth-century Europe. The pandemic of plague, "Black Death" or bubonic plague, spread throughout the continent and entire countries hit. In a few years glared at large population groups (between a quarter and half of European scholars suggest.)

Sometimes you see death as something far and it is up the appearance of certain tragic events when we reflect deeply on these things. Suddenly the old continent's population lived and suffered torment in hell on earth and in the flesh. Total revolution in art, lifestyle and economy were the consequences of mass death. These apocalyptic events generated fascination with the macabre and a substantial increase in spirituality. Religiosity was masochistic: Flagellates roamed the streets beating and marking back strongly, the company argued that only a celestial punishment was inflicting such havoc.

This is precisely the historical framework Bergman's film of that. It meant the ideal pretext to express their obsessions and, of course, those of all humanity as a whole: What is really God?

* Death has walked beside the crusading knight Antonius Block for long. Your body is ready to go but he is not in itself, while not losing a great game of chess as the Grim Reaper will not because his soul is precisely what the dispute. What is a photograph Bergman but splendid, deep existential dialogue, dynamic and spectacular theatrical and large open spaces?

The gentleman is an isolated character, reluctant to people of contempt and It feels empty. Do not want to die because he still does not hold enough knowledge: "It is inconceivable to comprehend God with the senses." In the end, the film has to atheism, but not for the dubious behavior of the clerical class, which exhibits, but rather a question of a philosophical than many of us has to think at some point.

"We make an idol of our fear and call it God" Antonius bluntly. And that statement is shaking the foundations of religion, at least the more practice. The bulk of believers are in fear of what might happen if they do not follow a religion; are few people who question depth why believe in God. Take refuge to an irrational desire so as not to feel alone and themselves protected. Plasma Bergman the divergence in the dialogues of the knight and his own inner demons are those which provide it with language, it exclaims, "What will happen to those who want to believe but can not?" The goal that guides, to interact so closely with death, is knowing what or who God knows what is closest and is willing to pay a high price, their own lives.

Bergman uses a device already used by Edgar Allan Poe in "The Masque of the Red Death" to give more suspense and strengthen the outcome. In the end, the knight returned to his castle Remote and wild, next to his wife to read, along with some guests, passages of the Apocalypse of St. John.

Finally, it should be noted the tendency of mankind to fear the coming times. I think we are fatalistic in nature and in every age and place of the world is latent catastrophic and apocalyptic vision. The strange thing is that we believe must be some way to atone for our sins and that can stop the calamity.