‘Goya, Carriere and the Ghost of Bunuel,’ Broken Down by Director Jose Luis Lopez Linares (EXCLUSIVE)

variety.com:

John Hopewell Chief International Correspondent“Goya, Carrière and the Ghost of Buñuel,” which plays Cannes Classics this Saturday, begins with French film great Jean-Claude Carrière in a train, singing an ancient song in Occitan, the language of Provence, where he came from.Visiting Goya’s birthplace, he’ spies a cauldron and comments that there was one like that in his own family home.Towards the end of the film, surveying “The Colossus,” Goya’s painting of a giant dominating tiny people in a valley below who flee in all directions, Carrière observes that the painting capture a sense of immigration.

Unlike so many of his friends, and indeed his wife,  Nahal Tajadod, Carrière notes, he will have the privilege of being buried in the same place where he was born.

Directed by José Luis López Linares, (“Bosch: The Garden of Dreams”), ”Goya, Carriére and the Ghost of Buñuel” pictures Carrière coming to Spain to revisit and comment many of the great works of Francisco de Goya.Carrière first came to real notice when photos in the ‘60s began to catch him, a rather dashing and dapper young man but with the straggly beard and hair of the time, walking or writing with Luis Buñuel.Co-author of all of the Spanish master’s late period French films, such as “Belle de Jour” and “The Obscure Object of Desire,” Carrière went on to co-write movies by some of the world’s other greatest auteurs, whether Milos Forman (“Valmont”), Volker Schlöndorff  (“The Tin Drum”) or Julian Schnabel (“At Eternity’s Gate”).So “Goya” captures Carrière doing what he did best: Interpreting genius.

First visiting “The Threshing Ground,” Goya’s 1786 breakthrough work, he breaks it down in a few brief strokes: the painter’s sympathy for ordinary folk, caught in.