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Silvia Pinal, a Mexican actress known as an icon for her work during the Golden Age of Cinema, died Nov. 28 at the age of 93.

Mexico’s cultural ministry on X shared that Pinal had died after starring in more than 60 films and plays over her decades-spanning career. She died after a urinary tract infection and years of health complications. Pinal’s official Instagram account also honored her.

“Your absence will always hurt me, but every memory of you will give me the strength to move forward,” the Instagram account shared. “As long as you live in my heart, I will always feel that you are still with me. I will love you forever, Mom. Rest in peace, Silvia Pinal.”

Pinal was known as a collaborator in the 1960s with the Spanish director Luis Buñuel, starring in the Cannes award-winning “Viridiana,” “The Exterminating Angel” and “Simon of the Desert.” She also...

Silvia Pinal is dead. Per Variety, the star of Luis Buñuel's Viridana and The Exterminating Angel, known as the Golden Age of Mexican Cinema's "last diva," died on November 28. She was 93.

"Your absence will hurt me forever, but every memory of you will give me the strength to move forward,...

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Silvia Pinal’s Net Worth Explored ( Photo Credit – Instagram )

Silvia Pinal was a legendary Mexican actress who worked in the entertainment industry for over 70 years. She passed away on November 28th, 2024, at the age of 93, after being admitted to the hospital with a urinary tract infection.

Pinal is considered one of the greatest female stars in Mexico. She worked in several films during the Golden Age of Mexican cinema and accumulated a considerable fortune. Let’s take a look at Silvia Pinal’s net worth.

Silvia Pinal’s Net Worth

According to a report by Marca.com, Silvia Pinal’s net worth was $50 million at the time of her death in November 2024. The actress left several lavish assets, including a mansion in Pedregal, Mexico City, and a theater named after her.

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Over a career that spanned seven decades, Pinal was a muse to director Luis Buñuel, appearing in 60s classics such as Viridiana

Silvia Pinal, an actor from Mexico’s Golden Age of cinema and muse to the director Luis Buñuel, has died aged 93.

Pinal got her start in theatre in the 1940s, working with the director Rafael Banquells – the first of her four husbands. She became a star in 1950 aged 18, when she appeared opposite two of Mexico’s biggest comedic film stars: Germán Valdés (Tin-Tan) in The King of the Neighborhood and Mario Moreno (Cantinflas) in The Doorman. In 1952 she appeared alongside heartthrob Pedro Infante in A Place Near Heaven.

The Mexican entertainment industry is mourning the death of legendary actress Silvia Pinal, who died at the age of 93.

Many stars have taken to social media to pay tribute and remember the late star.

Pinal’s daughter Sylvia Pasquel shared a message on X, the social media platform formerly known as Twitter, where she said, “Your absence will hurt me forever, but every memory of you will give me the strength to move forward, and as long as you live in my heart, I will always be able to feel that you are still with me. I will love you forever, Mom. Rest in Peace Silvia Pinal.”

Lucero, who worked with Pinal in the TelevisaUnivision telenovela Soy Tu Dueña, said, “My admired and beloved Silvia Pinal. I feel like you will always be with all of us who have admired you for as long as we can remember. You are...

Silvia Pinal, an actress in Mexico’s Golden Age of cinema, has died. She was 93.

Pinal had been hospitalized earlier this month for a urinary tract infection. Mexico’s Secretary of Culture confirmed Pinal’s death.

“The Ministry of Culture of the Government of Mexico regrets the passing of leading actress Silvia Pinal,” read the statement posted on X. “With a career spanning more than six decades, she participated in more than 60 films and plays. Her legacy lives on as a fundamental pillar of cinema, theater and television in Mexico. May she rest in peace.”

Pinal was born in Guaymas, Sonora, México on September 12, 1931. She studied acting at the National Institute of Fine Arts and Literature. Pinal’s acting debut was in 1949 with the comedy Dos pesos la dejada.

Making her debut during the Golden Age of Mexican cinema, Pinal got to star opposite legendary actor Pedro Infante in La...

Silvia Pinal, the revered film and television actress who left an indelible mark on Mexico’s Golden Age of Cinema, has died. She was 93.

Mexico’s culture secretary, Claudia Curiel de Icaza, as well as the Asociación Nacional de Intérpretes announced Pinal’s passing on social media. The Associated Press reported that Pinal had been hospitalized for a urinary infection several days ago.

During a prolific acting and producing career that spanned seven decades, Pinal gained international fame for toplining three 1960s classics written and directed by Luis Buñuel: the Palme d’Or co-winner Viridiana (1961), The Exterminating Angel (1962) and Simon of the Desert (1965).

Pinal got her start in the theater in the late 1940s working with Cuban-born director Rafael Banquells, who would become the first of her four husbands. Her breakthrough in cinema came in 1950 when at 18 she landed back-to-back leading roles opposite two of Mexico’s biggest film stars,...

Armando Silvestre, a busy actor in the Golden Age of Mexican Cinema who appeared with Clint Eastwood and Shirley MacLaine in Two Mules for Sister Sara, with Yul Brynner in Kings of the Sun and with Burt Lancaster in The Scalphunters, has died. He was 98.

Silvestre died June 2 in Coronado, California, a representative from the Aztlan Mortuary in nearby La Mesa told The Hollywood Reporter.

The powerfully built Silvestre made scores of films in Mexico, among them Here Comes Martin Corona (1952), Rossana (1953), Story of a Mink Coat (1955) with Silvia Pinal, La Sombra Vengadora (1956), The Miracle Roses (1960), Neutrón Contra el Dr. Caronte (1963), La Choca (1974) and Faith, Hope and Charity (1974).

He excelled in Westerns and action adventure movies early in his career en route to compiling more than 200 credits on IMDb.

Armando Silvestre Carrascosa was born in San Diego on Jan. 28, 1926, and raised in Tijuana. His younger brother was Eduardo Silvestre, winner of the Mr.

It’s a big international action epic, filmed in Mexico with a French director. Anthony Quinn is an 18th-century bandit who liberates a Mexican hamlet from marauding Yaqui Indians and a villainous Charles Bronson. Quinn is good, and all the necessary elements are present: fights, handsome scenery and a big battle… but it’s fairly tepid stuff, simplified and prettified. Leave it to Ennio Morricone’s epic music score to bind it all together. With Anjanette Comer, Sam Jaffe, Silvia Pinal and the same fifteen or so well-connected actors that cornered roles in all big Mexican films made with foreign money.

Guns for San Sebastian

Blu-ray

Warner Archive Collection

1968 / Color / 2:35 widescreen / 111 min. / La bataille de San Sebastian / Available at Amazon.com / Street Date June 15, 2021 / 21.99

Starring: Anthony Quinn, Anjanette Comer, Charles Bronson, Sam Jaffe, Silvia Pinal, Jorge Martínez de Hoyos, Jaime Fernández, Rosa Furman, Leon Askin, Ivan Desny, Pedro Armendáriz Jr.,...

Four late films by Luis Buñuel are showing from February 22 - March 28, 2018 in the United States in the retrospective Buñuel.“Chance governs all things.”—Luis Buñuel, My Last SighStriving for the surprising has always been a prevailing part of Luis Buñuel’s aesthetic practice. At first, this endeavor manifest itself in overtly incongruous visual terms, with the succession of shocking and often inexplicable images that dominate his earliest efforts, namely Un chien andalou (1929) and L'âge d'or (1930). After these two surrealist masterworks, though, both of which Buñuel made in collaboration with the movement’s eminent enforcer, Salvador Dalí, the director’s output went in a decidedly more systematic direction. The films Buñuel made in Mexico, twenty of them from the late 1940s into the early 1960s, could at times be just as provocative as anything else filling his filmography, but their formal and tonal constitution was comparatively tame and, dare one say it regarding Buñuel,...

Close-Up is a column that spotlights films now playing on Mubi. Luis Buñuel's Viridiana (1961) is showing June 17 - July 17 and The Exterminating Angel (1962) is showing June 18 - July 18, 2017 in the United Kingdom.ViridianaIt’s impossible to avoid describing the films of Spanish director Luis Buñuel as “surreal,” and yet to do so is woefully insufficient. This is for two reasons. In the first place, Buñuel never made one kind of film. In the second place, even his strangest films deal with social reality.Early in his career Buñuel did associate himself with the Surrealist art movement. Among his first productions were the infamous Un chien Andalou (1929) and L'âge d'or (1930), experimental narratives co-written by Salvador Dali in which bizarre and violent psychosexual incidents connect via absurd dream logic. It’s worth bearing in mind that the Surrealists never meant “surreal” to act as a mere label for the uniquely strange.

Author: Sean Wilson

Arriving on Blu-Ray and DVD on 13th February, provocative and gruesome horror We Are the Flesh is the latest movie from director Emiliano Rocha Minter. Engulfing viewers in a nightmarish and surreal world, whereby two siblings find themselves manipulated by a terrifying stranger, it’s controversial Mexican cinema in every sense of the word.

It also follows a proud tradition of rich, boundary-pushing cinema to have emerged from the country. To honour the film’s release, here are some of Mexico’s finest.

Un Chien Andalou (1929)

Few images are seared onto viewers’ minds as vividly as the eyeball being sliced in Luis Bunuel’s groundbreaking surrealist classic (in reality it was a cow’s eye, not a human’s). But in truth the Spanish filmmaker’s trendsetting collaboration with Salvador Dali is filled to the brim with all other manner of striking imagery that left a lasting...

Will somebody explain the sheep and the bear? Luis Buñuel really knows how to disturb people. This, his most characteristic surreal drama proposes an impossible, irrational situation – which isn’t all that different from the reality we know. Petty social rules, jealousies and bitterness make life hell for group of dinner guests stuck with each other, caught in an existential trap.

The Exterminating Angel

Blu-ray

The Criterion Collection 459

1962 / B&W / 1:33 flat full frame / 93 min. / available through The Criterion Collection / Street Date December 6, 2016 / 39.95

Starring Silvia Pinal, Jacqueline Andere, Augusto Benedicio, José Baviera, Antonio Bravo, Claudio Brook, Rosa Elena Durgel, Lucy Gallardo, Tito Junco .

Cinematography Gabriel Figueroa

Film Editor Carlos Savage

Original Music Raúl Lavista

Based on a story by Luis Alcoriza, Luis Buñuel

Produced by Gustavo Alatriste

Written and Directed by Luis Buñuel

Reviewed by Glenn Erickson

That intransigent rebel imp Luis Buñuel never mellowed — after ten or so...

Luis Buñuel movies on TCM tonight (photo: Catherine Deneuve in 'Belle de Jour') The city of Paris and iconoclastic writer-director Luis Buñuel are Turner Classic Movies' themes today and later this evening. TCM's focus on Luis Buñuel is particularly welcome, as he remains one of the most daring and most challenging filmmakers since the invention of film. Luis Buñuel is so remarkable, in fact, that you won't find any Hollywood hipster paying homage to him in his/her movies. Nor will you hear his name mentioned at the Academy Awards – no matter the Academy in question. And rest assured that most film critics working today have never even heard of him, let alone seen any of his movies. So, nowadays Luis Buñuel is un-hip, un-cool, and unfashionable. He's also unquestionably brilliant. These days everyone is worried about freedom of expression. The clash of civilizations. The West vs. The Other.

Viridiana

Written by Julio Alejandro and Luis Buñuel

Directed by Luis Buñuel

Spain/Mexico, 1961

The Cannes Film Festival has long been a venue to court controversy, and filmmaker Luis Buñuel was likewise one who consistently reveled in the divisive. At the 1961 festival, Buñuel brought his latest release, Viridiana, and the results were spectacular, and spectacularly contentious. The film, which shared Palme d’Or honors with Henri Colpi’s The Long Absence, was subsequently met with charges of blasphemy from the Vatican’s newspaper, and it was promptly banned in Buñuel ‘s native Spain.

The Spanish reaction was particularly critical. Viridiana’s production in Buñuel’s place of birth was already a hot topic. Having left for America and Mexico in 1939, Spain’s surrealist native son was back home, the adamantly leftist filmmaker now working amidst Francisco Franco’s fascist dictatorship. What’s the worst that could happen?

Viridiana is what happened,...

And here we are. The day after Easter and we’ve reached the top of the mountain. While compiling this list, it’s become evident that true religious films just aren’t made anymore (and if they are, they are widely panned). That being said, religious themes exist in more mainstream movies than ever, despite there being no deliberate attempts to dub the films “religious.” Faith, God, whatever you want to call it – it’s influenced the history of nations, of politics, of culture, and of film. And these are the most important films in that wheelhouse. There are only two American films in the top 10, and only one of them is in English.

courtesy of hilobrow.com

10. Andrei Rublev (1966)

Directed by Andrei Tarkovsky

A brutally expansive biopic about the Russian iconographer divided into nine chapters. Andrei Rublev (Anatoly Solonitsyn) is portrayed not as a silent monk, but a motivated artist working against social ruin,...

Mexico City — Down a narrow, dead-end street in a middle-class neighborhood of Mexico City, a three-story brick house with white window frames gives up no hint of the bizarre, even shocking images that were dreamed up inside.

Luis Bunuel, known as the father of surrealist cinema, lived in the simple, gated house over the last 30 years of his life after settling in Mexico as an exile from post-civil war Spain. For a man who assaulted moviegoers with such shots as an ant-infested hand, an eyeball sliced open with a straight razor, and elegant diners sitting on toilets, Bunuel enjoyed a surprisingly genteel life here.

Now, the Spanish government, which bought the house from Bunuel's family, has opened it to a public long fascinated with his work. The plan is to turn the building into a meeting place for Spanish and Mexican moviemakers, with workshops and occasional exhibits staged to celebrate Spanish-language cinema.

Viridiana, Luis Buñuel’s provocative 1961 Palme d’Or-winning classic proving that life is a bitch and then you play cards, will run at New York City’s Film Forum from Friday, April 24, through Thursday, April 30. Inspired by a painting of Saint Viridiana kneeling on the floor before a crucifix and crown of thorns (and by Benito Pérez Galdós‘ novel Halma), co-written by Buñuel and Julio Alejandro, and financed by the lead actress’ rich husband, Viridiana stars Silvia Pinal (recently honored with a Lifetime Achievement Ariel Award), as a pious young nun who, before entering a cloister, goes visit her strange and reclusive uncle (Fernando Rey). There, while trying to do Good, she befriends the uncle’s illegitimate son (Francisco Rabal), who enjoys having the company of his pretty cousin. In Viridiana, Buñuel’s humor is, as usual, subtly (sometimes not that subtly) mordant, though the film isn’t exactly the...

Release Date: Feb. 9

Director: Luis Buñuel

Writer: Buñuel; Buñuel and Luis Alejandro

Cinematographer: Gabriel Figueroa

Starring: Sylvia Pinal, Enrique Rambal; Pinal, Claudio Brook.

Studio/Run Time: The Criterion Collection, 93 mins., 45 mins.

Decades before Lost or even The Twilight Zone, director Luis Buñuel was creating hallucinatory experiences out of mundane reality, deranging the commonplace to sly, subversive effect. The peripatetic Spaniard invented surrealist cinema with his friend Salvador Dali in 1929, claiming a place in art history via the eyeball-slicing scandal of Un Chien Andalou. But the filmmaker drifted after that, failing to gain a foothold in either New York or Hollywood before finally establishing a middle-aged career shooting often melodramatic—and overlooked—commercial fare in Mexico.

Frankly delighted with human folly, and as fluent as a Symbolist poet with the effortlessly iconic image, Luis Buñuel may have been the greatest filmmaker of cinema's first century. Certainly, among the ten or 12 unassailable masters of the medium, he's the wittiest, the least sentimental, the most philosophically imaginative and formally the least self-conscious. At the same time, I'd imagine that many cinephiles on, say, the south side of 30 will wonder what the fuss is about -- where are the pyrotechnics, the daring rigor, the innovations, the elevation away from avant-gardish pulp and toward high art? Let's say this: that Buñuel is among the very few cinema giants you couldn't in your wildest dreams accuse of pretension (Renoir, Ozu and Bresson are the other three), that Buñuel's sense of irreverence remains a Swiftian glory of a kind too rarely acknowledged as "art," and that Bunuel's surgeon-like evaluation of...