Between the 1st and 2nd shots, there seems to be an ellipsis of a few minutes. Tristana joyfully agrees to listen to the bells. Then we see her leaving the bell-ringers’ room to climb to the top of the tower. But with the eye-line match cut from a panicked Tristana to Don Lope’s head in the place of the bell’s clapper, we have obviously tipped into the realm of the fantastic. Tristana’s awakening is not an ellipsis, but signals that the ellipsis between the 1st and 2nd shots of the excerpt was longer than we had thought, or that within the bell-tower shots, we unknowingly shifted from wakefulness to dreaming. In the preceding excerpts, Buñuel was playing on our grasp of the diegetic duration, while here he tips the film into the unreal using a simple ellipsis.
