Tristana

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. God bless Bunuel.

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.

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.

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.

Tell me if you've heard this one before: a young woman, full of youth and innocence, falls under the socially constructed power of a rich relative, only to find said relative has designs on taking her innocence for himself. Crushing ensues. While the narrative here takes a more social, and less religious, direction than Viridiana, both take the same basic trope to illustrate Bunuel's problems with institutional society. It's beautifully done, though without the verve and indignation of Viridiana

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.

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.

One of Buñuel's subtlest yet still intriguing. "Tristana" benefits from the Deneuve/Rey dynamic (both in terrific acting shapes -and, for Deneuve, not only) to deliver interesting musings on hypocrisy and sex, Buñuel's darlings.

Don Lope believes in dated old virtues except when it comes to matters of the flesh (specifically of the sexual kind). He desires to be both father and lover to Tristana, while she desires to be only daughter. Lope is a man who wants it both ways, while Tristana is a woman who insists on making choices. This is a captivating tug-of-war that ends in a dramatic yet predictable way, as is the style of Buñuel. Viewers must keep in mind the fetishistic significance of the female leg for Buñuel.

While practically devoid of Buñuel's signature surrealism, this is a solid drama that successfully integrates several themes explored less holistically in his earlier films--chiefly those of desire, coercion, and class consciousness. His most penetratingly human film so far and a welcome redemption of a similar setup found in Viridiana.

# 312

On the surface, Tristana seems like precisely the type of film that Bunuel spent most of his career railing against: the conventional and respectable bourgeois drama that appeals primarily to middlebrow sensibilities. Dig deeper and a different film emerges, a tense psychological power struggle between a hypocritical old patriarch and an innocent young woman. Or is it? Bunuel's ambiguous characterisations lend the material an unexpected richness, but it runs out of steam in the final reel.

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

349

where does one acquire a mustache protector like Fernando Rey's?

93.00

Really straightforward for a Bunuel film. The morally corrupt system that admonishes power structures only when they do not suit it directly is breeding it's own demise... But if the abused and vindictive children that bring the demise about are primarily acting on their hatred, will the future be any better?

Since I saw Viridiana so close to Tristana, I'm forever going to have a difficult time telling the two apart. Bunuel picks up some of the same themes, poking fun at the aristocracy, the Catholic church, and man's basic instincts. This one has more of a straightforward storyline, even if I never understood why the deaf characters were included. I preferred the alternate ending of the women walking away.

watched: 2012, 2023

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.

Estreava há 50 anos na Espanha. É o meu Buñuel menos querido dos anos 70, mas nem por isso deixa de ser gigante. Curioso que o Fernando Rey aqui é um exemplar fiel do que se acostumou chamar de esquerdomacho, tem consciência social, é anti-sistema, mas é tão machista quanto o pior dos reacionários. Box Versátil O Cinema de Luis Buñuel.

good pictures and story

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

This is the one film from Luis Buñuel's peek era that I hadn't seen, and it's probably my least favourite. It felt to me like a fairly rote review of themes he visited many times before. That said ... I adore Buñuel so much that my least favourite is still a cracking good film.

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.

its good but nothing to write home about. i didnt find myself caring much about the story, despite the strong performances from deneuve and rey. i think viridiana explores similar themes while being far more entertaining.

391

Deneuve, great as always.

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).

This is decent but never really clicked for me. There's a lot going on here psychologically, and some of the chronological pacing feels off. Deneuve is excellent as usual. Similar in some ways to Viridiana, or at least the first half. Very accessible but still challenging. Both Tristana and Lope are interesting characters. Pretty good stuff, but just left me a bit cold.

Never really engaging, and the plot-twist in the middle of the film is unsatisfying. Deneuve is great as always, but I was expecting something more from Buñuel and her.

#380

Bunuel's Lolita.