| Summary: | This article explores the under-researched intertextual and intermedial connections between Leonora Carrington’s transdisciplinary practice and the medium of film. The analysis focuses on the artist’s cameo appearances in two 1960s Mexican productions—There Are No Thieves in This Village (Alberto Isaac 1964) and A Pure Soul (Juan Ibáñez 1965)—which mark her creative collaborations with Surrealist filmmaker Luis Buñuel and Magic Realists Gabriel García Márquez and Carlos Fuentes. Carrington’s cameo roles are analyzed within a network of intertextual translations between her visual and literary works that often mix autobiographical and fictional motifs. Moreover, it is argued that Carrington’s cinematic mediations employ the recurring Surrealist tropes of anti-Catholic and anti-bourgeois satire. The article also investigates Carrington’s creative approach towards art directing and costume design, expressed in the Surrealist horror film The Mansion of Madness (Juan López Moctezuma 1973). The analysis examines the intermedial connections between Carrington’s practice of cinematic set design and her earlier experiments with theatrical scenography. Overall, this study aims to reveal undiscovered aspects of Leonora Carrington’s artistic identity and her transdisciplinary oeuvre.
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