Buñuel in the Labyrinth of the Turtles

After the controversy surrounding his debut feature, *L'Age d'Or*, Luis Buñuel faces challenges in securing new filmmaking projects. This tough period reflects the impact of public opinion on his career as a director.

Anthropologist Maurice Legendre approaches Buñuel with an idea to create a documentary based on an ethnographic study of the Las Hurdes region in Spain. Buñuel recognizes the potential for storytelling in this untapped area and decides to pursue the project.

With unwavering support from his friend Ramón Acín, who buys a lottery ticket, Buñuel's filmmaking dreams reignite when Ramón wins the jackpot. This windfall empowers them to move forward with the documentary project.

Gathering a film crew in the scenic town of La Alberca, Buñuel and his team start their journey toward a monastery that will serve as their lodging during the shoot. The picturesque settings contrast sharply with the region's social realities.

As they travel through the nearby villages, the crew observes the stark contrast between the picturesque scenery and the poverty that the locals endure. The cramped, dilapidated homes and the villagers' astonished reactions to the film team's provisions reveal the harsh conditions.

During a visit to a local school, Buñuel learns about the government's subsidies that help families care for orphaned children. The children's eager approach reveals their longing for affection and connection amidst their challenging circumstances.

Buñuel experiences a devastating moment when he encounters a dying little girl on the street, unable to provide the medical help she needs. This emotional encounter highlights the severe healthcare shortages faced by the villagers.

Despite the documentary's documentary nature, Buñuel begins to stage various dramatic scenes, which raises tensions among his crew. His decision to hire a farmer to reenact a rooster beheading for cinematic effect disappoints some members of the crew.

In pursuit of symbolic imagery, Buñuel insists on capturing a mountain goat's tumble down a cliff, ultimately opting for a quicker route by shooting one dead. Additionally, he orchestrates a scene where a donkey is stung by bees, symbolizing the local populace's suffering.

While working on the documentary, Buñuel is plagued by nightmares rooted in his traumatic childhood. One particularly haunting vision compels him to don a nun's habit, symbolizing his internal struggle and personal demons.

Following the emotional toll of the little girl's passing, Buñuel experiences a chilling nightmare that inspires him to stage a funeral for an infant within the film. This poignant sequence serves to illustrate themes of life, death, and loss.

Years later, in 1933, Buñuel starts piecing together his film, *Las Hurdes: Tierra Sin Pan*, back in Paris. This phase of editing and finalizing marks a crucial step in bringing his vision to life.

The film’s end notes reveal the tragic fate of Ramón Acín and his wife, who were executed shortly after the Nationalist coup in Spain due to their Anarchist beliefs. This somber detail adds depth to Ramón's role in Buñuel's life.

Buñuel successfully releases *Las Hurdes: Tierra Sin Pan* in Spain, although initial credits neglect to mention Ramón's contribution. This oversight reflects the struggles of artistic acknowledgment in tumultuous times.

In later years, Buñuel takes steps to honor his friend’s legacy by correcting the credits to include Ramón Acín's name. This act serves as a tribute to the invaluable support Ramón provided during the creation of the documentary.