Um bom filme, que nos faz refletir de certa forma sobre a nossa consciência de classe. Buñuel é um mestre do cinema mundial.

While Buñuel's intent is to tear down the hypocrisies of piety, he actually allows his central character to have a real transformation rather than simply attack her beliefs, which makes the satire all the more effective.

Luis Bunuel's Viridiana is a story told in two parts. Viridiana (Silvia Pinal), a young nun, reluctantly visits her estranged uncle, only to find that he considers her a replacement for his long-dead wife. After his suicide, she reevaluates her life and dedicates her time to helping the downtrodden, inviting a group of the poor to share her living space in the uncle's mansion. While Bunuel's trademark surrealism is missing, it still hits the mark in other ways. Subversive? Probably. Blasphemous? Yeah, depending on your perspective. But, most importantly, it is fantastic, one of Bunuel's most accessible and impactful films, thanks mostly to Bunuel's scathing script and creative direction (pans suddenly turn into tracking shots, etc.), some beautiful cinematography and lighting, and a great performance from Pinal. It's hard to find fault with Viridiana – it is that good.

It starts as a good movie, and this cynical vision of innocence and trust is really well put, but at one point you start to realize things, like how the story never gets engaging, how you never formed a bond or cared too much about any character (not even the protagonist), how you never see characters grow or develop relationships with each other, and the worst of all, how in the end, as much as it is a comedy, you barely laughed once or twice.

Liked this one. Creepy uncle spiking his niece's drink and sexually assaulting her, then some homeless people wrecking a house before trying to rape her and then the happy ending as part of a polyamorous triumvirate. It's a hoot. Actually very risky and cutting edge film making. Great plot, well acted. Worthy of its reputation.

If you're going out, don't forget your crucifix-knife! A scathing critique of human nature and the pretensions associated with organized religion, Buñuel was clearly out for blood with Viridiana, aiming to antagonize a social establishment in historically Catholic Spain. In the film, there are no heroes and no true idealists, only the practical acting on their own very objective desires, often using whatever means are at their disposal. Very bleak in its assessment of humanity and the role of virtue and generosity; considered vital to the maintenance of righteousness in the Christian faith, the director here presents them as wholly impractical, and often a facade for more base ambitions. In an increasingly secular world, it's easy to see Viridiana maintaining its status as one of the most substantial masterpieces of both Spanish film and of Buñuel. (4.5/5)

gonna blow your brain

I really like how this movie went through different phases that were unpredictable yet led comfortably into each other. That alone made this movie great. The characters were great as well and the pacing of the finale was spectacular.

Bunuel's films make you want to turn away, but then somehow draw back your gaze. His images and world view are simultaneously off-putting and amusing. While not his most famous film, Viridiana is perhaps his best.

Un'opera fortemente radicata nel suo tempo e nel contesto sociale nella quale uscì. Si tratta di un film che ha sconvolto gran parte di critica e pubblico per le tematiche provocatorie riguardanti politica e religione. Dopo più di cinquant'anni però risulta pesante e molto lontana, per capirla a fondo bisognerebbe immedesimarsi nel pubblico d'allora, un procedimento estremamente complesso soprattutto per un pubblico più giovane. Tutto il clamore che suscitò negli anni Sessanta si è perso con il tempo, e adesso risulta un film emotivamente debole e fortemente decontestualizzato.

Thoroughly sinister, perverse and pessimistic, Buñuel's 'Viridiana' is a film that I found hypnotizing at the beginning of its viewing, being bizarre, offbeat. However, I -- against my will, since I wanted so much to like it -- became exhausted, in spite of its apparent virtues, like its inventive, interesting metaphorical images and its superstitious, mystical dimension. Moreover, I admire Buñuel's film for being so daring, by associating religion and corruption in the midst of Franco's terror. Too bad I found it painful to watch.

Surrealist maestro Luis Bunuel's first Spanish-made feature tells a bizarre tale of lust, charity and skewed humanity. Viridiana can essentially be separated into two parts - an introductory tragedy which plays like a vampiric rendition of Vertigo, followed by a thoughtful tragi-comedy documenting the pitfalls and perils of well-to-do charity. The film is bathed in blatant symbolism, from close-ups of cats chasing mice to shots documenting dastardly characters as they ponder crucifix daggers. But its Viridiana's subtler motifs and surprise-riddled characters that really permeate through this oddly artificial pitch black melodrama. We sit in wonder and distrust as we watch Bunuel's players walk in circles, waiting for that one game of cards that will stay with us forever.

I'm not sure which peoples Mr. Buñuel is intending to mirror here, nor does it matter. His outlook is an unpleasant and gloomy one and more than a little out-of-date too.

I enjoyed this classic film from Luis Bunuel. He satirizes religion and class, and makes it entertaining with his usual twisted humour. The film also looks beautiful as well. This is a must watch for serious film lovers.

This film shows its age. And, unfortunately, it is marred by the political and philosophical point of view of Buñuel, who was a die hard communist (during Stalin age). Point of view that has been overcome by history: because time is a gentleman. My second attempt with Buñuel, and, definitely, the last one. It seems that I can't enjoy this director.

A classic tale that calls into question the whole notion of Christian charity in the light of pure human greed and lust.

I can't offer an effective review of Viridiana. It was fairly easy to recognize about halfway through that this was not going to be a film for me. There was no point to the narrative, instead it's pretty clear that the writer/director was attempting to send a message rather than tell a story. Viridiana is quite depressing as it focuses on a young nun who does her best to be obedient and loving in everything she does, but is taken advantage of by basically every single character in the film. It mocks and belittles religion, it seems to relish in incest, and it has a strange fascination with women's legs that doesn't seem to go anywhere. This is clearly an "art" piece that movie critics and enthusiasts will love examining and exploring to find the many symbolic pieces, which is not my idea of fun. I can't say this is a bad movie, that would be totally unfair, I'll simply say I didn't enjoy watching it at all.

Such a bleak movie, but worth it for the famous Last Summer send up. It's also a crucial example of Buñuel's distinct, pointed storytelling style.

Well worth watching as Bunuel works his art to capture an idea in his film. The story contrasts the social classes at opposite ends of the pole. The wealthy are corrupted but have some redeeming values while the impoverished lame and halt who elicit our feelings of pity exhibit even worse social traits when Virdiana tries to redeem them through a communal endeavor. In between these two classes are the laborers who come and go virtually unnoticed as they perform their duties. This situation could be viewed as a weak contrast between fascism and communism. The anti-clerical them throughout is quite obvious throughout as well as the corruption present in all philosophical ideals.

Uma critica contundente de Bunuel à sociedade e religião espanholas dos 60´s bem parecedia com a Portuguesa.