Tristana tackles immense themes, as a young woman is taken advantage of by her older male guardian, a man obsessed with the notion of personal freedom only when it's convenient. Less visual and more talky than most Buñuel, it's nevertheless fascinating seeing the twisted, abusive dynamic between these two characters. They're expertly played by Fernardo Rey and Catherine Deneuve. Rey is the standout here, at his best when brooding and declaring he acts as both husband and father to Deneuve as it suits him. Franco Nero is the dashing third point of their love triangle.
The scripting is a little obvious in that anyone's innocence can be easily lost, as everyone's choices are half-chance. Notions regarding love and maturity are simplified in Tristana; with youth comes naivety, middle age brings bitterness, and seniority makes one soft and sentimental. That arc isn't unbelievable, but it plays out jarringly in the film's second half. Buñuel offers some abstractions, particularly in a subplot about a deaf boy, to make his story seem more profound. While there's intrigue throughout, this is mostly an odd misstep for the auteur.
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