The enigmas and the images in Bunuel's Viridiana

Even after all these years, Louis Bunuel's Viridiano (1961) remains a great film, totally engrossing and provocative start to finish. The plot in brief: A young woman (Viridiana) finishing her years in the seminary and about to take her vows, gets a message from the mother superior that her uncle, who has paid for her education in the seminary, has summoned her to a visit on his rural estate (set in Spain in what seems to be about 1940?). V resists, as she has had no relationship w/ her uncle over the years, but the mother-superior in effect orders her to obey the man's wishes. The uncle lives alone with servants, he's a widower I think; he makes a play for the very blond, very virginal V, which she repulses and sets off to head back to the convent - when she's summoned back to his estate w/ an urgent message and finds that he has hanged himself. The estate now passes to his completely estranged son, whom V has never met. He and his partner (not wife!) enter the scene, as V goes about w/ her own plans for the place: Inviting all of the people with disabilities, poverty, malformities, and illnesses of various sorts to live in a wing of the estate; her vision is a social commune - from each according to her/his ability, etc. - mixed with hours set aside for prayer and devotion. The motley crew that she assembles proves in short order to be anything but angelic and rarely grateful, but she persists. Eventually, and the owner, her cousin, a decadent chauvinist and would-be Don Juan, head off to the city for some overnight business, and the impoverished crew sets out to have a dinner in manor house - using the best linen and china, etc. and vowing to clean everything up afterwards. The dinner - the obvious apex of the movie - is fantastic, starting off well-mannered etc. and ending in a complete riot of sexual aggression and wanton destruction. When the "masters" return home, one of the men ties up the aggressive cousin while another one of the crew of misfits rapes Viridiana, in a horrifying scene. At the end, V is resigned to live in the manor house alongside her cousin, who has come on to her repeatedly, though she is locked in silence and indifference, obviously suffering from terrible trauma. One of the many things that makes this movie so great is that it's difficult to discern Bunuel's message and sympathies: Is it that the impoverished are a bunch of ingrates who will take advantage of any opportunity for chaos? Is it that the poor and the lame deserve and need more than condescending charity, particularly from the established church? Is it that the system of land ownership is so inherently corrupt that any efforts to alleviate poverty and inequality will fail? Is if that the church itself is feckless? Is it that the impoverished and the social outcasts will always, eventually, triumph, even via ruination? There are so many open issues and unanswered questions - that by the end - we're just left with the images: a hanged man dangling from a limb of a tree, a dinner tables littered with smashed glass and china, a creepy attic hideaway with rats, a vast and ugly chateau dining room in half-darkness as some weird American pop music plays on a turntable.