Tristana felt like a darker psychological play on Viridiana. Both films critique patriarchy, catholic morality and authoritarian power, but Viridiana shows the collapse of an ideal whereas Tristana shows the collapse of Tristana herself who becomes hardened after years of domination by Don Lope. Its as if Buñuel takes the same structure of Viridiana and turns the brightness and volume down, replacing social satire with psychological shadow. Both films begin with an idealistic woman entering the home of an older male authority figure who in turn are trying to possess the woman in some way under the guise of protection or taking care of them. The films explore this false generosity and hypocrisy of the male guardian and the subsequent transformation of the woman. But Tristana feels darker because the damage takes root inside of her not just in the world around her. Its quieter and is stretched out over years leaving a psychological mark that reshapes her entire sense of self. Where Viridiana ends up disillusioned yet still capable of connection by the films end, Tristana becomes cold, withdrawn and ultimately vengeful. The ending echos this shift. Instead of the ironic compromise we get in Viridiana we watch a woman molded by years of control enact that same harshness outward. In that final action, Buñuel’s critique lands more sharply because its no longer just ideals that collapse but instead a person who is worn down from within.