Viridiana (1962)
Directed by Luis Buñuel
Viridiana is preparing to start her life as a nun when she is sent, somewhat unwillingly, to visit her aging uncle, Don Jaime. He supports her; but the two have met only once. Jaime thinks Viridiana resembles his dead wife. Viridiana has secretly despised this man all her life and finds her worst fears proven when Jaime grows determined to seduce his pure niece. Viridiana becomes undone as her uncle upends the plans she had made to join the convent.
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What critics compared Viridiana to
In a year where masters from Paul Verhoeven to Cristi Puiu have invoked Buñuel, Ade’s absurdist brunch gathering might actually come the closest to the Spanish master’s mixture of satirical, carnivalesque glee and purple-bruised humanity—it’s the beggar’s banquet from Viridiana (1961) and the suffocating social obligation of The Exterminating Angel (1962) rolled into one, literally stripped naked, and then topped off with an intrusion from a creature from another time, place, and dimension, one whose arrival has been hinted at all along, and whose fundamental, what-the-fuck incongruity is sturdily supported by the context of absolute realism that Ade builds for two-and-a-half hours.
Then Doc's partner/buddy Denis (Jordan Christian Hearn) takes a photograph of Coy grabbing a bite in a tableau exactly like "The Last Supper"--or, closer to the point, like the Beggar's Banquet sequence in Buñuel's Viridiana .