"So in Buñuel sight determines content or, rather, content is a way of looking, content is sight at all possible levels. And this multitude of levels—social, political, psychological, historical, esthetic, philosophic, is not predetermined, but flows from vision. His constant tension is between obsessive opposites: pilgrimage and confinement, solitude and fraternity, sight and blindness, social rules and personal cravings, rational conduct and oneiric behavior. His intimate legacies, often conflicting, are always there: Spain, Catholicism, surrealism, left anarchism. But, above all, what is always present is the liberating thrust that could only come from such a blend of heritages. Certainly no other filmmaker could have so gracefully and violently humanized and brought into the fold of freedom, rebellion and understanding so many figures, so many passions, so many desires that the conventional code judges as monstrous, criminal and worthy of persecution and, even, extermination. The poor are not forcibly good and the rich are not forcibly evil; Buñuel incriminates all social orders while liberating our awareness of the outcast, the deformed, the maimed, the necrophiles, the lesbians, the homosexuals, the fetishists, the incestuous, the whorish, the cruel children, the madmen, the poets, the forbidden dreamers. He never exploits this marginality, because he makes it central to his vision. He has set the highest standards for true cinematic freedom."
Carlos Fuentes, The Discreet Charm of Luis Buñuel