Luis Buñuel’s adaptation of Octave Mirbeau’s novel “Diary of a Chambermaid” (1964) was made at a decisive point in the master filmmaker’s long, dynamic, and illustrious career. The film marked Buñuel’s second foray into European filmmaking after an almost thirty-year hiatus, during which time he made a large number of films in Mexico, contributing greatly to what is now considered the nation’s midcentury cinematic Golden Age. The Spanish filmmaker first returned to Europe to make Viridiana (1961) in Spain (the only film Buñuel ever completed in his native country). Viridiana proved a sensation in every sense of the word: it made a huge splash for international critics and audiences starting with its enthusiastic reception at that year’s Cannes Film Festival and it was met with legendary controversy (no stranger to the filmmaker) in Franco’s tightly-regulated Spain. Viridiana revisits several of Buñuels’ thematic preoccupations from his Surrealist years in France and his pseudo-social-realist films in Mexico, specifically in terms of the infamous atheist’s routine subversion of religious iconography. The now-iconic scene where a group of vagrants sit around a grand dinner table, positioned in a way reminiscent of Da Vinci’s The Last Supper (1495-98), proved to be a heretical image for one audience and a brilliant and beautiful inversion for another (By the way, why did nobody in the Catholic community say that critiquing Renaissance art isn’t heretical? Is Da Vinci Jesus?).