The theme of patriarchy never seemed quite as front and center in a Bunuel film than with Tristana. Don Lope himself quite literally points out that he sees himself as both husband and father to the titular Tristana, without an ounce of humility of self-awareness as to how problematic this is. But in a twisted sense of dominating logic, his position makes sense, at least in serving his own interests. As husband to Tristana, she belongs to him exclusively, both as property and sexual partner. No other man can have her, nor can Tristana seek any man’s attention. As father, Don Lope is free to command Tristana as he so chooses, as she is entirely beholden to him and his will. He tells her what she can wear, what and when to eat, when she can go out and what she can while out, when to wake, when to sleep, etc. Don Lope, by seeking to be both husband and father, seeks to eliminate any kind of bodily autonomy Tristana may have. Living under these kinds of conditions, it’s no wonder that Tristana’s subconscious mind dwells on thoughts of playfully running through bell towers with other men and seeing Don Lope’s severed head serving as a bell clapper. And in the end, Tristana’s dream comes true, in a way. While killing and decapitating him directly, she makes the decision to simply not call for help when Don Lope appears to be having some kind of heart attack. In fact, up until this point, Tristana seems to command an enormous amount of authority when she returns to Don Lope. She marries him purely out of convenience, laughs at him when she has the opportunity to deny him sexually, appears to have an implied kind of affair with Saturno (and deny him sexually as well), and begins to dress and wear makeup as she so chooses. Bunuel doesn’t frame this “liberation” as a victory though. Tristana seems bitter and resentful, gleeful to enact revenge against her former oppressor, Don Lope. Inside of the patriarchal system established in the film, no one wins.