#DVD 感覺影片想講的太多，以階級(jí)思想開場(chǎng)，后到男女權(quán)力，政治格局和宗教信仰，而且看似淺談的宗教部分其實(shí)是蠻重要的一筆，雖然人性欲望一直作為主線支撐著整個(gè)故事，但是把這些宏大的元素雜糅到一起還是讓整個(gè)故事顯得有些散。

結(jié)構(gòu)上，時(shí)間的流逝在影片中被很大程度的弱化，同時(shí)也弱化了觀眾對(duì)于人物轉(zhuǎn)變的代入感，雖然讓故事稍顯突兀，但也讓觀眾更容易抽離于故事，這與導(dǎo)演對(duì)于人物的設(shè)定有很大關(guān)系，感覺更像是觀眾的冷眼旁觀，看著人性欲望逐漸膨脹。

影片以鐘聲搭配著整個(gè)鎮(zhèn)子的遠(yuǎn)景開場(chǎng)，以鐘聲搭配女主與三個(gè)男人的閃回結(jié)束，完成度很高，結(jié)尾的超現(xiàn)實(shí)畫面一次又一次出現(xiàn)，頭化錘，鐘如何響？室內(nèi)運(yùn)鏡非常不錯(cuò)，對(duì)于人物情緒的傳遞還是非常到位的，還有幾次對(duì)于鏡子的利用。

兩個(gè)設(shè)計(jì)非常喜歡：1. 噩夢(mèng)后女主撓了撓自己的胸口。2.結(jié)尾處女主拄著拐杖“踱步”的那場(chǎng)戲，配合著剪輯臺(tái)詞的設(shè)計(jì)，也很巧妙的把她塑造成了一個(gè)焦急等待死神帶走老者的人。

1.特麗絲塔娜從純潔的少女墮落成謀殺親夫冷酷無(wú)情的貴婦。

2.鐘內(nèi)懸掛的洛比先生的死頭顱，這是糾纏女主的噩夢(mèng)，對(duì)女主來(lái)說是血腥、厭惡和惡心的。

3.洛比先生的鞋代表了女主對(duì)他的態(tài)度。女主腳的失去是逃跑的代價(jià)，她無(wú)法掙脫束縛，而且最終回歸了厭惡的資產(chǎn)階級(jí)家庭。洛比先生用豐富的物質(zhì)挽留女主，實(shí)際上是要滿足自己的欲望。

4.涉及資產(chǎn)階級(jí)的偽善、罪惡、亂倫、欲望的自由與禁錮，年輕與衰老死亡，對(duì)天主教信仰的懷疑。

5、啞巴少年是身上有無(wú)法言說的，對(duì)女主的欲望。他與特麗絲塔娜敞開衣服的對(duì)視，他慌忙后退，然后切到圣女像的鏡頭太厲害了，但我說不清其中的寓意。是女主徹底的墮落？

TRISTANA, Bu?uel’s uncompromisingly acidulous and formally decorous moral allegory, has deceptively bare-bones plot, in the wake of her bereavement, our titular 19-year-old heroine (Deneuve) moves into the household of her new ward, Don Lope (Rey), an erstwhile suitor of her deceased mother, who is reputed to be impeccable in personality and moral standing, but hinted by his maid Saturna (Gaos, a diligent servant who is equally diligent in keeping her own counsel albeit being in the know throughout), he has a particular soft spot for woman.

Descending from gentry stratification, Don Lope is not rolling in money, whose atheistic, socialistic belief also falls foul of his own family members, a hardened bachelor, he is not sated to be only a father figure to a nymphet like Tristana, but also her husband, which a docile Tristana complies under his paternalistic persuasion, but instilled by Don Lope’s self-contradicted “talk the talk and walk the walk” ideologue (one must free to love, but as his nominal wife, Tristana cannot do anything to spoil his name), a susceptible Tristana, who has an idiosyncratic preference over even selfsame things (pillars in the church or two chickpeas), gets tired of this cradle-snatcher and gets her feet wet in the outside world, and soon, falls in love with a visiting painter Horacio (a four-square Nero), who will spirit Tristana away from the town of Toledo, there is nothing Don Lope can do to obviate it.

Several years later, the tidings that Tristana is back in Toledo with Horacio, jolts a salt-and-pepper but newly inheritance-received Don Lope out of placidity and he magnanimously grants her wish to stay with her “father” for her malady, a tumor grown in her leg, and before soon Horacio is driven out of the picture, everything seems to return to the status quo, with Tristana now an embittered amputee, and Don Lope eventually gets her acquiescence of matrimony (her wedding dressing is exactly the same color of her mourning in the beginning of the story), but their union is deficient in domestic bliss, even when Don Lope becomes more tolerant of Tristana’s emotional distantiation, as foreshadowed by Tristana’s horrific nightmare in the belfry (the only surrealistic masterstroke Bu?uel flourishes in the film), the precognition will become true in a deadly winter night, when Tristana finally turns the tables on her scorned husband, after a sequence of rewinding montages, the film brings down its curtain.

Much more than a cautionary tale about a middle-aged prig’s inveterate nympholepsy, betraying by the title, the film puts its heroine in the dead center, Tristana’s metamorphosis is something so staggering that the whole innocence-eroding-and-acrimony-crystallizing process cuts like a sharp-edged knife to anyone who can claim enough faith in humanity, and we can see where the canker lies in the opposite sex.

Deneuve is at her most impressive when her brazens out Tristana’s ruthlessness after being physically punished for her right to love, the unflinching gaze she projects upon Saturno (Fernández), the mute son of Saturna, when she bares it all, is soul-shatteringly chilling and disdainful, it constitutes a transcendent moment when emancipated female body squashes the lascivious male gaze from the ground up. Rey, on the other hand, imparts a fully sympathetic persona despite Lope’s unsavory disposition, a typical product of a patriarchal society who abuses his entitlement, swallows his pride and dissipates his fortunes, Bu?uel is ever so sharp-eyed to pinpoint our species' inherent frailties and show us the consequences in such explicit minutiae, TRISTANA is here to stay.

referential entries: Bu?uel’s VIRIDIANA (1961, 8.2/10); EL (1953, 7.6/10); BELLE DU JOUR (1967, 7.9/10).