That Obscure Object of Desire is a 1977 surrealist comedy-drama directed by Luis Buñuel, based on the 1898 novel The Woman and the Puppet by Pierre Louÿs. The film is widely regarded as Buñuel’s final directorial effort before his death in 1983. Set in a world where passion, obsession, and desire are examined through complex human interactions, the film presents a darkly comedic exploration of love and attraction. Buñuel’s unique style and sharp social commentary are evident throughout, making this a notable film in his illustrious career.

The plot centers on the obsessive and tumultuous relationship between a wealthy older man, Mathieu (Fernando Rey), and a beautiful, enigmatic woman named Conchita (Carole Bouquet and Ángela Molina). Mathieu becomes obsessed with Conchita, who seems to play with his emotions and refuses to reciprocate his love in a traditional way. The film unfolds in a non-linear manner, switching between flashbacks and the present, as Mathieu’s attempts to control his emotions and win Conchita’s affection grow more desperate. Conchita, however, is elusive, moving between indifference, affection, and manipulation, leaving Mathieu in a constant state of emotional turmoil.

The central character, Mathieu, is portrayed by Fernando Rey as an older, wealthy man whose passion for Conchita borders on obsession. His character is defined by his confusion and frustration, as he cannot understand Conchita’s contradictory behavior. Conchita, played by both Carole Bouquet and Ángela Molina (in different versions), is a complex woman who embodies both sensuality and independence. Her actions are unpredictable, and she seems to enjoy toying with Mathieu’s emotions. The dual casting of Conchita represents her contradictory nature, reinforcing the idea that she is an object of desire and mystery for Mathieu, impossible to fully possess or understand.

That Obscure Object of Desire delves into the nature of desire, obsession, and the complexities of human relationships. The film explores the idea of unattainable love and how individuals can become consumed by their own desires. Buñuel critiques societal conventions surrounding love and sex, highlighting the power dynamics and manipulation present in romantic relationships. The film also raises questions about identity, as Conchita’s contradictory behavior and the dual portrayal of her suggest that she is not a single person but a series of shifting roles that reflect Mathieu’s internal struggles.

In typical Buñuel fashion, That Obscure Object of Desire employs surrealism and symbolic elements to heighten the psychological tension of the narrative. The film uses the shifting nature of Conchita’s character to represent the elusiveness of desire itself, something that cannot be pinned down or fully understood. Buñuel also incorporates elements of absurdity and dark humor to critique the absurdities of human behavior and the social constructs that govern relationships. The use of surreal imagery, such as the opening scenes involving the bombing of a train, further emphasizes the unpredictability and chaos that defines the characters’ lives and desires.

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The film’s cinematography, led by the great director of photography, Gabriel Figueroa, is elegant and purposeful, using vivid colors and striking compositions to visually represent the emotional turmoil of the characters. Buñuel’s direction is deliberate, creating a slow-building tension that allows the absurdities of human desire to unravel in an almost theatrical manner. His sharp sense of humor is evident in the way he contrasts the passion and violence of Mathieu’s obsession with the playful, almost indifferent actions of Conchita. The film’s pacing is patient, allowing the characters’ complex psychological states to develop fully.

In conclusion, That Obscure Object of Desire is a provocative and thought-provoking exploration of love, obsession, and the illusions that govern human relationships. Through Buñuel’s distinctive direction and the captivating performances of the cast, the film presents a complex portrait of desire that is both humorous and tragic. The dual portrayal of Conchita, along with the surreal and symbolic elements, reinforces the idea that love and passion are elusive and ultimately beyond human control. As Buñuel’s final work, the film is a fitting conclusion to his career, showcasing his sharp wit, his deep understanding of human nature, and his unflinching examination of society’s darker aspects.