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Viridiana

Viridiana

Drama · 1962

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.

Movie details

Viridiana

“We've got nothing to hide...”

1962 Drama 1h 30m

Critical arithmetic

One number, for now.

TMDB

7.7 / 10

Community rating

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.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Viridiana?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Luis Buñuel

Written by

Luis Buñuel · Julio Alejandro

Silvia Pinal

Silvia Pinal

Viridiana

Francisco Rabal

Francisco Rabal

Jorge

Fernando Rey

Fernando Rey

Don Jaime

José Calvo

José Calvo

Don Amalio

Margarita Lozano

Margarita Lozano

Ramona

Victoria Zinny

Victoria Zinny

Lucía

Teresa Rabal

Teresa Rabal

Rita

Court is in session

Put Viridiana on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.