I am only life: I love and I exist! Bottomless, like wells, shadows stretched from the feet of the departing Moors to Mount Montserrat, the contour of a mourning geometric figure converged on Spanish Jerusalem, the city of three religions - Toledo. At a table in a cafe, producer David Goldman tells Buñuel the legend of King Solomon's table, a magical mirror where you can see the present, past and future merge in ecstasy. Three planes of narration: the aged Buñuel, who writes the script of his film, the three actors trying to get used to images, and three surrealists whose relationship in reality was once tied into a scorpion knot of friendship, love and betrayal – the poet Federico García Lorca, the artist Salvador Dali and the director Luis Buñuel.
The three planes will make up a pyramid with a vertex-center – a magical mirror that holds the secrets of the past, present and future. The saffron sands of the desert pass through these planes, leaving on them traces of salt, like on the iris of the eye, bloodless burns. Agasfer will pass, taking the suffering with him, and leaving glasses through which you can see the Jewish letters on billboards. In the courtyard of a madhouse, a mad critic will leave no stone unturned by Buñuel's philosophy. Because unlike the Buñuel films, Saura’s somnambulistic fantasy has a plot.
Polanov's paranoia, when the heroes flounder helplessly in a web of conspiracy. Representatives of the three main faiths play with the profane, wanting their initiation. Mental erection and mental orgasm. The boy will pull the surface of the sea, like the skin of a dead man is lifted from the bones, and look into the future. On the streets of night Toledo, you can meet your desires, fears and yourself. Somewhere in the neighboring streets, elephants roam on high legs-backs, in sexually anticlerical ecstasy, lovers in priestly vestments are combined and a secret kante hondo rings, accompanying flamenco two men. Ola!
The storm boils outside the window, Dali’s pen draws “Honey is sweeter than blood”, and Lorca becomes Adam with pearl fish; the eyes are about to wake up and see themselves on the glaze plate. The second test is to find each other in the labyrinth, which may be mental in nature. This is similar to the Saurian Eldorado. People are frozen in a labyrinth of their own sins, which will be reflected by a mystical mirror. This is not Buñuel and his comrades moving through the barren corridors near Toledo, it is Carlos Saura who stopped and looks into the mirror of the past, present and future to let his heroes see the path that they have already trodden and will pass again and again until one of them has the strength to replay his own past according to his own plan.
At some point, the land of Spain gave birth to three surrealist dreamers who taught people to show their dreams to others. The pyramid has not only sides and top, but also a base. The world freezes in a question mark at the end of the prosecutor's sentence: What is truth? The madness of a surreal extravaganza that leads to the knowledge of alchemical mysteries? What is our life but a long dream from which we are so unwilling to wake up? Five more minutes, Father, let me sleep five more minutes! Representatives of three religions, generations of believers and infidels, all bowed over the mystical mirror, trying to discern in the movement of Yeshua’s lips the answer he gave to Pilate. Saffron sands from under the feet of the departing Moors wind over the heads of tourists, fill the faces of the Holy Virgin on the facades of churches, interfere with the flow of music from Moroccan flutes, sweep over the open yellowed pages of the Torah. Spanish Jerusalem, don't wake up, my life, and listen to the violins splashing in your blood, Toledo! Ola!