Luis Buñuel's melodramas of survival, 'Death in the Garden' and 'The Milky Way', carry on the director's proclivity for poking his characters -- and his filmgoers -- right in the eye.
Where, in A Woman without Love is the imagination, wit, and brilliance one expects of Buñuel?
In Piccoli's characters there are always at least two selves—an outer self that strikes out at the world with aplomb and confidence and an inner self that crouches diffidently behind the façade, hoping not to be found out, hoping to get away with the deception.
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