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Viridiana (pronounced [biɾiˈðjana]) is a 1961 Spanish-Mexican surrealist [1] comedy-drama film directed by Luis Buñuel and produced by Gustavo Alatriste. [2] It is loosely based on the 1895 novel Halma by Benito Pérez Galdós .
Pinal achieved international recognition by starring in a trilogy of films directed by Luis Buñuel: Viridiana (1961), El ángel exterminador (1962) and Simón del desierto (1965). In addition to her film career, Pinal was a pioneer in Mexican musical theatre. [1] She was considered "the last diva" of the Golden Age of Mexican film. [2]
The Long Absence (French: Une aussi longue absence, "Such a long absence") is a 1961 French drama film directed by Henri Colpi. It tells the story of Therese (Alida Valli), a Puteaux café owner mourning the mysterious disappearance of her husband sixteen years earlier. A tramp arrives in the town and she believes him to be her husband.
The Young One (Spanish: La joven) (released as White Trash in the United States and Island of Shame in the United Kingdom) is a 1960 English-language Mexican drama film directed and co-written by Luis Buñuel, and starring Zachary Scott, Bernie Hamilton, Key Meersman, Crahan Denton and Claudio Brook.
The film's plot has many similarities to Buñuel's earlier film Viridiana and the character of Don Lope is partially based on Buñuel's father, who was also a "señorito (an adult who never worked a day in his life but lives comfortably, or even luxuriously, thanks to an inheritance). Buñuel based much of Tristana's schoolgirl innocence on ...
That Obscure Object of Desire (French: Cet obscur objet du désir; Spanish: Ese oscuro objeto del deseo) is a 1977 comedy drama film directed by Luis Buñuel, based on the 1898 novel The Woman and the Puppet by Pierre Louÿs.
Following Viridiana (1961) and The Exterminating Angel (1962), Simon of the Desert was the third, and last, of Buñuel's films to star Pinal and be produced by Gustavo Alatriste, Pinal's husband at the time. It was also the final film of Buñuel's Mexican period before he returned to Europe.
Film critic Raymond Durgnat has called this film the first of Buñuel's "revolutionary triptych", along with La Mort en ce jardin and La fièvre monte à El Pao: "Each of these films is, openly, or by implication, a study in the morality and tactics of armed revolution against a right-wing dictatorship."