Luis Buñuel ́s Tristana, or about the Importance of Bedroom Slippers and Pianos: Keys to an Intersemiotic Translation The film text resulting from the intersemiotic translation of any literary text is intended either to continue or to transform the ideology conveyed by that literary text. Ideology, therefore, closely following Julia Kristeva, would not be a referential dimension that works outside the sign. Ideology has semiotic characteristics, it is inscribed in the text, giving rise to the ideologeme. If the ideologem is the confrontation between a particular textual organization and those statements with which it relates, then it is not difficult to understand that every translation, either interlinguistic or intersemiotic, is the place where the ideologem shines more intensely. After all, in every translation process there are always, needless to say, two texts at least. What interests us most in this study is to try to find out, what is ideologically behind these transformations in Luis Buñuel's film to ultimately infer that intersemotic translation is the most ideological one, the most flexible, the most manipulative of all types of translation. KEYWORDS: Intersemiotic Translation, Ideologeme, Close reading, Tristana, Julia Kristeva, Jeanne Rucar, Luis Buñuel