Luis Buñuel was one of the most important Spanish film directors of his time, actually of any time you can think of.

He was born in Aragón (Spain) in 1900 and since he was little, he always showed a great interest in the cinema and the interpretation field. His parents bought him a ardboard theatre and he started to give performances for his friends.

He studied Philosophy in Madrid and befriended other important artists of that time like Salvador Dalí, Federico García Lorca, Rafael Alberti and Juan Ramón Jiménez. He became interested in the most influential european tendencies: Dadaism and Surrealism. André Breton and Louis Aragon were a big influence on his creations. After his studies in Madrid he traveled to Paris and his cinema pasion was increased: he worked as a critic in some art and cinema french publications.

In 1929 he filmed his first short movie with Salvador Dalí called “Un chien andaluz” which was full of surrealism messages and became a success in the Parisian cinemas.

When the Spanish Civil War exploded he was exiliated to Paris and then he traveled to Hollywood and worked for Warner Brothers. But his important phase came when he was installed in Mexico and filmed some importants movies as “Los Olvidados”, “Nazarín” or “El Ángel Exterminador”. Later he came back to Spain to direct two important films : “Viridiana” and “Tristana”. Two movies with an important critical load to the spanish dictatorship and religion, in concrete the Catholicism.

After that time in Spain arrived his French stage, in which he created other important movies as “Belle de Jour” or “Le charme discret de la bourgeoisie”. In this last one recovered his most surrealist tendency, which was the main ingredient of his mexican phase.

His style was unpredictable, always full of a halo of mistery, because as he used to say, mistery is the key issue in every work of art.  He was atheistic and religion has always been an element of criticism and uncertainty in his films. As it has been the analysis of the behaviour and the habits of the society, specially the bourgeoisie. If we mix all of these ingredients with his personal surrealism overtone we obtain a collection of films that will always belong to the great worlwide art classics, no matter the passage of time.