Buñuel’s Messy Law and the “Extimate” Image in <i>El ángel exterminador</i> and <i>La Mort en ce jardin</i>

Luis Buñuel’s notable Mexican film <i>El ángel exterminador</i> (1962) and his less familiar Mexican–French film <i>La Mort en ce jardin</i> (1956) coincide in their interest in portraying overbearing spaces of entrapment within which customs and rules of order reach points of exhaustion. With readings informed by elements of Lacanian thought, this paper explores the emergence of a messy, defective law and its implications for the mediatory qualities of language and the experience of subjectivity. I begin by arguing that the films make use of failures in communication to disrupt the paternal myth and the law of the signifier as these concepts are discussed in Lacanian thought. I then examine how these same disorienting forces also affect the imaginary support of the unified subject: Buñuel’s camera often reduces the prefigured image of subjects into piecemeal assemblages of partial objects or blends these images with surroundings. This paper concludes with a discussion of how <i>El ángel</i> generates visual lacunae that respond to this disorder. Unlike in <i>La Mort</i>, which portrays an authority that attempts to impose order in response to these gaps, <i>El ángel</i> produces sense <i>through</i> them, in a function understood by the term “extimacy.” This concept describes a foundation that is simultaneously intimate and exterior, and it is crucial to affirm the singularity of the subject before the mechanical operations of the signifier.