“The journal entry above, dated October 4, 1969, was written during the second week of shooting Tristana (1970), Catherine Deneuve’s second—and final—collaboration with Luis Buñuel after the enormous success of Belle de Jour (1967). Abounding in bizarre detail, the jotting succinctly captures Tristana’s impeccable balance of precision and perversion. As in Belle de Jour—in which Deneuve’s character, Séverine, a YSL-clad haute bourgeoise, finds erotic liberation through byzantine psychosexual fantasies and part-time work at a boutique bordello, where she is christened with the nom de pute of the title—Tristana hinges on the defilement of its eponymous character. When the film opens, Tristana is all in black, still in mourning for her recently deceased mother. The innocent, timid, orphaned teenager becomes the ward of Don Lope (Buñuel regular Fernando Rey), a lecherous, hypocritical, overweening Manchegan aristocrat who wastes no time in seducing her. ‘I’m your father and your husband,’ the…