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Tristana (1970)

PG-13 | | Drama | 29 March 1970 (Spain)
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1:34 | Trailer

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Shortly after her mother's death, an innocent and youthful woman will find refuge into the household of her middle-aged aristocratic guardian, who will submit her to his sexual advances.

Director:

Luis Buñuel

Writers:

Julio Alejandro, Luis Buñuel (screen story) | 1 more credit »
Nominated for 1 Oscar. Another 11 wins & 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
Catherine Deneuve ... Tristana
Fernando Rey ... Don Lope
Franco Nero ... Horacio
Lola Gaos ... Saturna
Antonio Casas ... Don Cosme
Jesús Fernández Jesús Fernández ... Saturno
Vicente Soler Vicente Soler ... Don Ambrosio
José Calvo José Calvo ... Campanero
Fernando Cebrián ... Dr. Miquis
Antonio Ferrandis ... Comprador
José María Caffarel ... Don Zenón
Cándida Losada ... Ciudadana
Joaquín Pamplona Joaquín Pamplona ... Don Joaquín
Mary Paz Pondal Mary Paz Pondal ... Muchacha (as María Paz Pondal)
Juanjo Menéndez ... Don Cándido (as Juan José Menéndez)
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Storyline

When the young woman Tristana's mother dies, she is entrusted to the guardianship of the well-respected though old Don Lope. Don Lope is well-liked and well-known because of his honorable nature, despite his socialistic views about business and religion. But Don Lope's one weakness is women, and he falls for the innocent girl in his charge, seduces her, makes her his lover, though all the while explaining to her that she is as free as he. But when she acts on this freedom, Don Lope must deal with the consequences of his world-view. Written by Gary Dickerson <slug@mail.utexas.edu>

Plot Summary | Add Synopsis

Taglines:

Somewhere between the innocent girl and the not so innocent mistress is the bizarre, sensuous story of Tristana.

Genres:

Drama

Motion Picture Rating (MPAA)

Rated PG-13 for thematic elements and some disturbing images | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Spain | Italy | France

Language:

Spanish

Release Date:

29 March 1970 (Spain) See more »

Also Known As:

Tristana See more »

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Box Office

Opening Weekend USA:

$4,754, 14 October 2012

Gross USA:

$14,586

Cumulative Worldwide Gross:

$14,586
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

The film met with inflexible opposition from censors in Spain's Franco government. Director Luis Buñuel pushed hard for the film's production in 1962, but Francisco Franco's autocratic and pro-Catholic regime objected to the film's subject matter, which they found subversive to the regime. Tristana's seduction and corruption, and Don Lope's dismissive and irreligious rants against the church proved to be insurmountable obstacles to production in the censors' eyes. Buñuel's recent Spanish-produced film Viridiana (1961) had also made the government wary of the director's activities; the film was intended to be the Buñuel's triumphant return to his native land, but it too had proven too subversive for the Franco regime and was almost immediately banned in the country. It took eight more years for the director to convince the censors to let him make this film. See more »

Quotes

Don Lope: Where are you going?
Tristana: To bed.
Don Lope: On a night like this, you're leaving me on my own?
Tristana: Really! It's incredible that you still have those illusions at your age.
See more »

Alternate Versions

Originally released in Europe at 105 minutes. See more »


Soundtracks

Étude No 12 in C minor, Op 10 'Revolutionary'
Written by Frédéric Chopin
See more »

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User Reviews

 
Yet another Buñuel masterpiece.
23 October 2005 | by colin-cooperSee all my reviews

Luis Buñuel had a mastery of screen technique attained by very few directors. Confronted by the script of Tristana, what contemporary director would know where to start?

Buñuel's attention to detail is extraordinary. Every scene is packed with visual interest. In some strange way, the decor forms an essential part of the structure; it is a facet of Buñuel's unique vision. Moreover, he not only knows exactly when to end a sequence, but how to end it. For instance, when Don Lope (Rey) puts down the dog and walks away, the camera follows not him but the dog: an endearing and brilliant touch, and there are many more. Compelling throughout, even spellbinding.

If this film were a framed picture hanging in a gallery, thousands would come to see it and Buñuel would be acclaimed as a great artist. He was a great artist, in fact, but the cinema is an ephemeral form and people forget. We need to buy the videos and watch these fine movies from time to time, just to remind ourselves that a film can be a significant art form and not merely a commercial product cynically synthesised to extract the largest amount of money from the greatest number of people.


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