Regie:
Luis BuñuelDrehbuch:
Julio AlejandroKamera:
José F. AguayoBesetzung:
Catherine Deneuve, Fernando Rey, Franco Nero, José Calvo, José María Caffarel, Fernando Cebrián, Aldo Sambrell, Antonio Casas, Cándida Losada, Luis Rico (mehr)Streaming (1)
Inhalte(1)
Nach dem Tod ihrer Mutter lebt Tristana bei ihrem Vormund Don Lope. Doch schon bald entwickelt der alte Aristokrat mehr als nur väterliche Gefühle. Tristana lässt sich angewidert darauf ein, um im nächsten Moment vor Don Lope zu fliehen. Nach einigen Jahren kehrt sie erkrankt zurück und willigt in die Heirat ein. (KinoweltTV)
Kritiken (6)
Im Vergleich zu Belle de Jour - Schöne des Tages zu viel Fernando Rey, auf den ich allergisch reagiere, und zu viele typische Buñuel-Witze und -Ideen, aber dieses Mal sind sie in einer völlig inakzeptablen Collage zusammengefügt. Wie interessant auch immer Deneuves Wandlung vom naiven kleinen Mädchen zur Arroganz selbst hier gezeigt wird. Und Franco Nero ist außerdem ausgesprochen schwach. ()
To be honest, I prefer Belle de Jour over Tristana - it is more playful and at the same time much more sarcastic than the relatively depressing Tristana, whose central theme is bitterness and resulting hatred. However, both films feature the wonderful Catherine Deneuve and the film works primarily thanks to her presence and excellent performance. It is not just a film about the relationship between an older man and an immature girl, but also a reflection of the society of its time, the dependent position of women, and the clash of the modern world with old orders and value systems. When Don Lope confronts a young artist and challenges him to a duel, he receives a punch in the nose instead of acceptance. This is how the world changes, where there is no longer room for old patriarchal nobility. Luis Buñuel is a sharp critic of the hypocrisy of old bourgeois and aristocratic rules, and his disdain for the world of so-called "better" people is evident in many dialogues. Overall impression: 85%. ()
A powerful film that surprisingly isn't too demanding for the audience, yet it's still hard to get into because you'll constantly feel that something is off and that everything is bound to go wrong, with no hope for a completely happy ending. The cast is excellent, which is only confirmed by Luis Buñuel's skillful direction. Yet, it couldn't captivate me. ()
“I am your father and your husband, depending on the situation.” Don Lope is a hypocrite. He says one thing and does another. He pretends to be a woman’s patron, but in reality he aims to possess her. Similarly, Tristana loves (really loves?) him at first and then later hates him when her immobility makes her more akin to easily appropriated property. Because women do not forget and sexuality cannot be kept bottled up indefinitely (a theme that permeates Buñuel’s whole filmography), revenge will be served. Cold. Slowly, smoothly, with a presentiment of the inevitable. Thusly the film flows, thusly Buñuel directs. With a single cut, he easily jumps several years in time without an informative title. Why delay? Even in such a reserved work, the maker of An Andalusian Dog has not forgiven himself for his surreal dreams, but he definitely does not squander any shots. He amusingly economises on them. Like when, together with a dog, he expels the covetous viewer from the bedroom, where an act of love is about to happen. It would be a pleasure to analyse Tristana from the perspective of the characters and the acting. Catherine Deneuve undergoes a fascinating transformation as she smoothly transitions from the defensive to the attack. But what is there to win in a war against oneself? 75% ()
This film is worth seeing mainly because of the excellent performance of Catherine Deneuve as Tristana. The transformation from an innocent, quiet girl to a life-loving young lady demanding love, and then into a bitter and even vengeful woman is truly breathtaking. Fernando Rey, however, excellently supported her, portraying the aging hypocritical lecher Don Lope more than convincingly. The successful indictment of the fallen morality of the Spanish middle class in the 1920s with a strong religious undertone is signed by none other than the eternal critic and surrealist, Luis Buñuel. ()
Galerie (32)
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