financing the project, which ended up collapsing (Buñuel filmed the film years later in Spain with Catherine Deneuve). Years later, Pinal, with the help of her second husband, producer Gustavo Alatriste, looked for Buñuel in Spain and convinced him to film Viridiana (1961). This, without a doubt, is her most famous film. She was co-starred by Francisco Rabal and Fernando Rey and was the winner of the Palme d'Or at the prestigious Cannes Film Festival. Despite the success and prestige enjoyed by the film, it was rejected by the Spanish censorship and the Vatican at the time, accusing it of blasphemy. The Spanish government ordered its destruction. The film was saved through the intervention of Pinal, who fled with a copy to Mexico. In Mexico, Vatican censorship also resonated. However, with the help of Salvador Novo, the film premiered in some rooms. Her second film with Buñuel was El ángel exterminador (1962), in which Pinal starred with a choral cast. The film also received critical acclaim worldwide. In 2004, the New York Times recognized it among the best films of all time. Her third and last project with Buñuel was Simón del desierto (1964). The film, misrepresented as a medium-length film, was initially conceived as an episodic film. Pinal and Gustavo Alatriste looked for Federico Fellini to direct a second episode, but Fellini accepted with the condition that his wife, Giulietta Masina, starred in it. Jules Dassin wwas then sought, who likewise took on the condition that it was starred by his wife, Melina Mercouri. Pinal also rejected this request. The idea was that Pinal starred in all the film episodes, so the project ended up filming only with Buñuel. In the film, Pinal also made the first nude appearance of her career, something still rare in Mexican cinema and the first naked scenes of Buñuel's cinema. Pinal was also on the verge of starring with Buñuel in the film Diary of a Chambermaid in France. Pinal learned French and was willing to charge nothing for her participation. However, the French producer Serge Silberman ended up choosing Jeanne Moreau. Even so, Pinal (along with Lilia Prado), the actress with whom Buñuel worked the most, made three classic films. Pinal was also going to shoot with Buñuel in Spain on Divinas palabras, but copyrights had problems. Years later, Pinal finally did it in Mexico with another director. After her work with