which helped her to be approved by De Cordova for the film. The film was filmed in Havana, Cuba, and it was a remarkable blockbuster, which consecrates Pinal as the first figure in the cinema. Another director who knew how to make the most of Pinal's histrionic abilities was Alberto Gout. Under the baton of Gout, Pinal made the film La sospechosa (1954). Another great movie in which Pinal participates is Historia de un abrigo de mink (1954), an episodic film in that Pinal co-stars with the actresses María Elena Marqués, Columba Domínguez and Irasema Dilián. With Tito Davison as director, Pinal also filmed the Mexican-Spanish-Chilean co-production Cabo de Hornos (1955), along with the actor Jorge Mistral. Pinal worked again with Pedro Infante as his co-star in the famous comedy El inocente (1955). Pinal starred in several films by Tulio Demicheli. Among the most outstanding is Locura pasional (1955), which would bring her first Silver Ariel award as best actress. The second was thanks to her role in the film La dulce enemiga (1957), directed by Tito Davison. In 1956, Pinal starred in the film Una cita de amor (1956), where she worked for the first and only time under the direction of the director Emilio Fernández. The popularity and success of Pinal in Mexico opened the doors for her to work in Europe. following the advice of Tulio Demicheli. Her first work in the Old Continent is in the Spanish-Mexican co-production Las locuras de Bárbara (1958), directed by Demicheli. From the hand of Demicheli Silvia starred in Spain the musical film Charleston. Given the success of her films in Europe, Pinal was invited to work in Italy, where she also served as producer of the film Uomini e Nobiluomini (1959), in which she starred next to Vittorio de Sica and Elke Sommer. Under the direction of José María Forqué, Pinal starred in Spain in the film Maribel y la extraña familia (1960). In 1961 she filmed the Spanish musical film Adiós, Mimí Pompom, next to Fernando Fernán Gómez. Pinal achieved international acclaim through a trilogy of films that marked the end of the Mexican era of the Spanish filmmaker Luis Buñuel. Pinal had her first contact with Buñuel through Mexican actor Ernesto Alonso, with the firm intention of starring in the film version of the novel Tristana. However, the tiny commercial success of Buñuel's films prevented the producers from