Deneuve, great as always.

"Fans of the director are likely to see Tristana as a routine facsimile of both Él and Viridiana." - Ed Gonzalez

I like Buñuel much better when he's straightforward like this than his more surreal works, which tend to be polemical and ironically, less interesting. Tristana is not as good as Belle de Jour but it's very good. Both are a bit crude on the dialogue level, and some more complexity wouldn't have hurt Tristana, but it's still a very good story, very nicely shot.

391

A classic of revenge and obsession. Perhaps Deneuve's best performance. This is mature Bunuel: simple, superficially "normal," yet profoundly subversive.

One of Bunuel's relatively subtle films, but it deals, again, with sexual politics, religion, et al. I prefer Deneuve here to her performance in Belle de Jour, and I find the story more interesting to boot. Tristana's degradation is unpredictable and saddening. In a way, it's the same setup as Viridiana, but taken in a different direction. That's Bunuel for you - remaking the same two or three ideas over and over, and doing it very, very well.

#380

Very good film, and narratively definitely one of Buñuel's more clearly told films. That doesn't make the acting and stylistic keypoints less brilliant, though. Like the camera movement, which is mesmerizing if you ask me. Almost like a trance sometimes. The story itself is maybe a bit weak, but it's hard not to like it, nevertheless.

Solid, almost "surreal-less" (apart from one cool dream sequence), drama from Buñuel which, like life sometimes does, takes a completely unexpected (and untelegraphed) turn, then follows that road through to its end. I didn't really get the short final montage.

good pictures and story

A very accessible Buñuel, but no less intriguing than his other work. It still has the commentary on religion and the class system that is common to his work and a few surreal sequences. The dubbing was a bit distracting but the performances still came through pretty well and the entire film was quite enjoyable.

# 312

I was expecting to not like this one very much, but it turned out to be pretty good. Very "normal" for Bunuel, but a good watch nonetheless.

Deneuve's turn as the title character might be (though less showy or glamorous than the rest) the finest of her carreer, and this is definitely one of Buñuel's subtlest and most intriguing works.

There's something about Tristana's amputated leg. A big f-you to Freudian gender politics and a wonderful example of Bunuel's ability to crawl under your skin and make you rethink the Socially Assumed. A lesser work, sure, but still worth recommending.

349

I was excited about another Bunuel & Deneuve collaboration since Belle de Jour is my favorite Bunuel so far. First half is very dull for someone accustomed to Bunuel. Last half introduces a few twists which managed to regain my interest. I still feel I might have skipped a major something about Tristana, but I won't bother myself for a rewatch.

It contains some beautiful images and an even more beautiful Catherine Denueve, but didn't quite work for me. There was something "lifeless" about it (and not because it lacked the brisk comedy from The Discreet Charm of the Bourgeoisie (the only other Buñuel I've seen) - it had a lot of comedy, with gloomy undercurrents).