Through forty years of filmmaking, Luis Bunuel has been opening our eyes to see what might otherwise evade our notice. And he is not averse to using a razor slash where it is appropriate. (p. 111)

The personal dimension in each Bunuel film converts the body of his work into a mosaic of the man. (pp. 111-12)

Whatever else he has done, Luis Bunuel has consistently demythologized a vestigially Christian culture, and he has done so since long before theologians announced that God is dead. He has gone from avant-garde visual theatrics to a bland, straightforward directorial style, all the time nourishing the same obsession—to lay to rest all the myths, secular and religious, which diminish man's freedom. (pp. 112-13)

There is no way to "prove" Bunuel's demythologizing role. But the idea can be made plausible and even informative if we can develop it out of his remarkable...