Buñuel, Pinal returned to the cinema with the comedy Buenas noches, Año Nuevo (1965), where she alternated with Ricardo Montalbán. In 1966 she made the mythical film La soldadera, directed by José Bolaños and inspired by the events of the Mexican Revolution. That same year, she participated in the Mexican-Brazilian co-production Juego peligroso, directed by Luis Alcoriza and based on a script by Gabriel García Márquez. She also appeared in the Franco-Italian-Mexican co-production La bataille de san sebastian, along with Anthony Quinn and Charles Bronson. In 1967 Pinal films Shark!, with Burt Reynolds and directed by Samuel Fuller, making this the only Hollywood production in which Pinal has appeared. Pinal achieved a huge blockbuster with the film María Isabel (1968), based on a popular cartoon by Yolanda Vargas Dulché. Between the late 1960s and early 1970s, Pinal mainly made comic films directed by the filmmaker René Cardona Jr. In 1976, Pinal starred in Las mariposas disecadas, a thriller of psychological suspense. In 1977 she finally starred in the controversial film Divinas palabras (1977), directed by Juan Ibáñez, a film where she made an integral nude scene. At the end of the seventies and the beginning of the eighties, Pinal filmed some films in Spain, Italy and Argentina as part of a project by Televisa to unify the Spanish and Latin American markets. After ten years of absence from the cinema, Pinal returned in 1992 with the tape Modelo antiguo, directed by Raúl Araiza. The decline of Mexican cinema and the activity of Pinal on television and other media (such as politics) made her practically withdraw from the big screen. In recent years, her film appearances have been limited to films Ya no los hacen como antes (2002) and a brief special appearance in Tercera llamada (2013). Stage Pinal made her debut at the theater in the Instituto Nacional de Bellas Artes. Eventually, she did experimental plays, to then work at the Ideal Theater in Mexico City, in the Spanish actress Isabelita Blanch's company, where she was directed in numerous productions by Rafael Banquells. Outside of this company, in 1950 participated in the play Celos del aire, with Manolo Fábregas and Carmen Montejo. That same year she represented Doña Inés in Don Juan Tenorio, next to Jorge Mistral. Of her most outstanding plays from the beginning of her career stand out The Madwoman of Chaillot, next to Prudencia Griffel and El