The Spanish director Luis Buñuel spent much of his career working to subvert the various pieties of civilized society. From the image of a young man in a nun’s habit riding a bicycle in “Un Chien Andalou” (1929) to the sight of Catherine Deneuve having mud flung at her in “Belle de Jour” (1967), Buñuel shocked and mocked moviegoers who expected easily identifiable characters and conventional plots. Mercifully, he limned his filmic salvos with surrealist humor and absurd non sequiturs.