Luis Buñuel Net Worth
Luis Buñuel Net Worth is
$9 Million
Luis Buñuel Bio/Wiki, Net Worth, Married 2018
The father of cinematic Surrealism and one of the most original directors in the history of the film medium, Luis Buñuel was given a strict Jesuit education (which sowed the seeds of his obsession with both religion and subversive behavior), and subsequently moved to Madrid to study at the university there, where his close friends included ... | Full Name | Luis Buñuel |
| Date Of Birth | February 22, 1900, Calanda, Spain |
| Died | July 29, 1983, Mexico City, Mexico |
| Place Of Birth | Calanda, Aragon, Spain |
| Height | 5' 7½" (1.71 m) |
| Profession | Writer, Director, Actor |
| Education | Complutense University of Madrid |
| Spouse | Jeanne Buñuel (m. 1934–1983) |
| Children | Juan Luis Buñuel, Rafael Buñuel |
| Parents | Leonardo Buñuel, María Portolés |
| Siblings | Alfonso Buñuel, Concepción Buñuel, Margarita Buñuel, Alicia Buñuel, Leonardo Buñuel, María Buñuel |
| Awards | Palme d'Or, Academy Award for Best Foreign Language Film, Golden Lion, Cannes Best Director Award, Ariel Award - Golden Ariel, Grand Jury Prize, Golden Lion for Lifetime Achievement, Ariel Award for Best Direction, Ariel Award for Best Original Story, BAFTA Award for Best Screenplay, Bodil Award for... |
| Nominations | Academy Award for Best Original Screenplay, Academy Award for Best Writing Adapted Screenplay, BAFTA Award for Best Film, César Award for Best Director, BAFTA Award for Best Direction, César Award for Best Writing, National Society of Film Critics Award for Best Screenplay, BAFTA Award for Best So... |
| Movies | An Andalusian Dog, Belle de Jour, The Exterminating Angel, Viridiana, The Discreet Charm of the Bourgeoisie, The Young and the Damned, Age of Gold, That Obscure Object of Desire, The Phantom of Liberty, Tristana, Diary of a Chambermaid, Nazarin, Land Without Bread, The Milky Way, Simon of the Desert... |
| Star Sign | Pisces |
| # | Trademark |
|---|---|
| 1 | Mockery or wholesale attacks upon religion, especially Catholicism |
| 2 | Shocking subject matter |
| 3 | Satirizies or outright attacks bourgeois lifestyles |
| 4 | His films often include an animal in a scene, where they seem out of place |
| 5 | Insects |
| # | Quote |
|---|---|
| 1 | [on Gala, the wife of Salvador Dali]: I've forgotten what the argument was about, but Gala was attacking me with her usual ferocity when I suddenly leapt to my feet, threw her to the ground, and began choking her...I was in a blind rage, but I knew I wasn't going to kill her. Strange as it may seem, all I wanted was to see the tip of her tongue between her teeth. Finally, I let go, and two days later, she left. |
| 2 | Hate to leave while there's so much going on. It's like quitting in the middle of a serial. |
| 3 | I've always felt a secret but constant link between the sexual act and death... Lately my own sexual desire has waned and finally disappeared, even in dreams, and I'm delighted. |
| 4 | [in his autobiography on his onetime friend Salvador Dalí after stating that Dali's wife is the only woman the painter ever made love to] Of course, he's seduced many, particularly American heiresses... by stripping them naked in his apartment, frying a couple of eggs, putting them on the women's shoulders, and, without a word, showing them the door. |
| 5 | A writer of a painter cannot change the world. But they can keep an essential margin of nonconformity alive. |
| 6 | A Clockwork Orange (1971) is my current favorite. I was very predisposed against the film. After seeing it, I realize it is the only movie about what the modern world really means. |
| 7 | J'aime la solitude, à condition qu'un ami vienne m'en parler de temps en temps. (I like solitude, as long as someone drops by to chat about it from time to time.) |
| 8 | Age is something that doesn't matter, unless you are a cheese. |
| 9 | Don't ask me my opinions on art, because I don't have any. Aesthetic concerns have played a relatively minor role in my life, and I have to smile when a critic talks, for example, of my "palette". I find it impossible to spend hours in galleries analyzing and gesticulating. Where [Pablo Picasso]'s concerned, his legendary facility is obvious, but sometimes I'm repelled by it. I can't stand "Guernica", which I nonetheless helped to hang. Everything about it makes me uncomfortable--the grandiloquent technique as well as the way it politicizes art. Both Alberti and [José Bergamín] share my aversion; in fact, all three of us would be delighted to blow up the painting, but I suppose we're too old to start playing with explosives. |
| 10 | The films that influenced me the most, however, were Fritz Lang's. When I saw Der müde Tod (1921), I suddenly knew that I too wanted to make movies. It wasn't the three stories themselves that moved moved me so much, but the main episode--the arrival of the man in the black hat, whom I instantly recognized as Death, in a Flemish village, and the scene in the cemetery. Something about this film spoke to something deep in me; it clarified my life and my vision of the world. This feeling occurred whenever I saw a Lang movie, particular the 'Nibelungen' movies, and Metropolis (1927). |
| 11 | I love dreams, even when they're nightmares, which is usually the case. My dreams are full of the same obstacles, but it doesn't matter. My amour fou for the dreams themselves as I shared with the surrealists. Un Chien Andalou (1929) was born of the encounter between my dreams and [Salvador Dalí]'s. Later, I brought the dreams directly into my films, trying as hard as I could to avoid any analysis. 'Don't worry if the movie's too short', I once told a Mexican producer. 'I'll just put in a dream.' He was not impressed. |
| 12 | To compare me with Goya is a nonsense. Critics speak of Goya because they don't know anything about Quevedo, Theresa of Avila, the picaresque literature, Galdòs, [Ramón del Valle-Inclán] and others . . . Today's culture is unfortunately inseparable from economic and military power. A ruling nation can impose its culture and give a worldwide fame to a second-rate writer like [Ernest Hemingway]. [John Steinbeck] is important due to American guns. Had [John Dos Passos] and [William Faulkner] been born in Paraguay or in Turkey, who'd read them? |
| 13 | Frankly, despite my horror of the press, I'd love to rise from the grave every ten years or so and go buy a few newspapers. |
| 14 | In the name of Hippocrates, doctors have invented the most exquisite form of torture ever known to man: survival. |
| 15 | If you were to ask me if I'd ever had the bad luck to miss my daily cocktail, I'd have to say that I doubt it; where certain things are concerned, I plan ahead. |
| 16 | Fortunately, somewhere between chance and mystery lies imagination, the only thing that protects our freedom, despite the fact that people keep trying to reduce it or kill it off altogether. |
| 17 | A paranoiac, like a poet, is born, not made. |
| 18 | Tobacco and alcohol, delicious fathers of abiding friendships and fertile reveries. |
| 19 | Give me two hours a day of activity, and I'll take the other twenty-two in dreams. |
| 20 | 'God and Country' are an unbeatable team; they break all records for oppression and bloodshed. |
| 21 | If someone were to prove to me right this minute that God, in all his luminousness, exists, it wouldn't change a single aspect of my behavior. |
| 22 | The bar . . . is an exercise in solitude. Above all else, it must be quiet, dark, very comfortable - and, contrary to modern mores, no music of any kind, no matter how faint. In sum, there should be no more than a dozen tables, and a client that doesn't like to talk. |
| 23 | You have to begin to lose your memory, if only in bits and pieces, to realize that memory is what makes our lives. Life without memory is no life at all, just as an intelligence without the possibility of expression is not really an intelligence. Our memory is our coherence, our reason, our feeling, even our action. Without it, we are nothing. |
| 24 | All my life I've been harassed by questions: Why is something this way and not another? How do you account for that? This rage to understand, to fill in the blanks, only makes life more banal. If we could only find the courage to leave our destiny to chance, to accept the fundamental mystery of our lives, then we might be closer to the sort of happiness that comes with innocence. |
| 25 | I can only wait for the final amnesia, the one that can erase an entire life. |
| 26 | Sex without religion is like cooking an egg without salt. Sin gives more chances to desire. |
| 27 | Thank God, I'm an atheist. |
| 28 | Nothing would disgust me more morally than winning an Oscar. |
| 29 | I've always found insects exciting. |
| 30 | [When asked why he made movies] To show that this is not the best of all possible worlds. |
| 31 | I have a soft spot for secret passageways, bookshelves that open into silence, staircases that go down into a void, and hidden safes. I even have one myself, but I won't tell you where. At the other end of the spectrum are statistics which I hate with all my heart. |
| # | Fact |
|---|---|
| 1 | Educated at Jesuit schools before attending the University of Madrid. While there he formed friendships with Salvador Dali and Federico Garcia-Lorca. |
| 2 | Directed one Oscar nominated performance: Dan O'Herlihy in Robinson Crusoe (1954). |
| 3 | In the 5th edition of 1001 Movies You Must See Before You Die (edited by Steven Jay Schneider), 9 of his films are listed: Un Chien Andalou (1929), L'Age d'Or (1930), Las Hurdes (1933), The Young and the Damned (1950), The Young One (1960), Viridiana (1961), Belle de Jour (1967), Tristana (1970) and The Discreet Charm of the Bourgeoisie (1972). |
| 4 | He was fluent in Spanish and French but never learned to speak English. |
| 5 | 30 Film retrospective on the Berlinale in 2008. |
| 6 | Member of the jury at the Cannes Film Festival in 1954 |
| 7 | Was father-in-law of filmmaker Joyce Buñuel. |
| 8 | Praised by Alfred Hitchcock as the best director ever. |
| 9 | Loathed Salvador Dalí's wife, Gala Dalí. |
| 10 | Biography in: John Wakeman, editor. "World Film Directors, Volume One, 1890-1945". Pages 71-92. New York: The H.W. Wilson Company, 1987. |
| 11 | Was voted the 14th Greatest Director of all time by Entertainment Weekly. |
| 12 | Liked to daydream, and his imaginations were frequently to play tricks to his friends and, in Mexico, one of his favorite "victims" was the Spanish screenwriter Luis Alcoriza. During a hunting party, Alcoriza saw an eaglet on a tree and knocked it down with the first shot but then he found a price tag on a paw: it was a stuffed bird put there by Buñuel. |
| 13 | Father of Juan Luis Buñuel |
| 14 | Father of film-maker Rafael Buñuel. |
| 15 | Rejected an offer from Salvador Dalí to direct a sequel to Un Chien Andalou (1929) in 1966. |
| 16 | Worked as chief editor and chief of the writer department of the Museum of Modern Art in New York (1939-1943) |
| 17 | Became a Mexican citizen in 1948. |
Writer
| Title | Year | Status | Character |
|---|---|---|---|
| Dry martini (bunuelino cocktail) | 2008 | Short story | |
| La novia de medianoche | 1997 | previous unproduced screenplay | |
| Arena | 1984 | TV Series documentary autobiography - 1 episode | |
| Igra o pamcenju i umiranju | 1984 | TV Movie novel | |
| That Obscure Object of Desire | 1977 | scenario - as Luis Bunuel | |
| Le fantôme de la liberté | 1974 | ||
| Le moine | 1972 | screenplay - as Luis Bunuel | |
| The Discreet Charm of the Bourgeoisie | 1972 | scenario - as Luis Bunuel | |
| Una historia decente | 1971 | Short book | |
| Johnny Got His Gun | 1971 | uncredited | |
| Tristana | 1970 | screen story | |
| The Milky Way | 1969 | writer | |
| Belle de Jour | 1967 | adaptation and dialogue - as Luis Bunuel | |
| Simón del desierto | 1965 | Short based on a story by / screenplay and dialogue | |
| Diary of a Chambermaid | 1964 | adaptation and dialogue | |
| The Exterminating Angel | 1962 | screenplay by / story by | |
| Viridiana | 1961 | ||
| The Young One | 1960 | screenplay | |
| La fièvre monte à El Pao | 1959 | adaptation - as Luis Bunuel | |
| Nazarin | 1959 | adapted for the screen by | |
| Death in the Garden | 1956 | adaptation | |
| Cela s'appelle l'aurore | 1956 | adaptation | |
| The Criminal Life of Archibaldo de la Cruz | 1955 | screenplay & adaptation | |
| Robinson Crusoe | 1954 | screenplay | |
| The River and Death | 1954 | ||
| Abismos de pasión | 1953 | adaptation / story | |
| El | 1953 | adaptation / story | |
| El bruto | 1953 | writer | |
| A Woman Without Love | 1952 | technical screenplay | |
| Mexican Bus Ride | 1952 | adaptation | |
| Susana | 1951 | shooting script | |
| Si usted no puede, yo sí | 1951 | story | |
| The Young and the Damned | 1950 | ||
| ¡Centinela, alerta! | 1937 | ||
| España 1936 | 1937/II | Documentary short screenplay / story | |
| ¿Quién me quiere a mí? | 1936 | ||
| Don Quintín el amargao | 1935 | screenplay - uncredited | |
| Las Hurdes | 1933 | Documentary short commentary / writer | |
| L'Age d'Or | 1930 | scenario - as Bunuel | |
| Un Chien Andalou | 1929 | Short scenario - as Louis Bunuel | |
| La chute de la maison Usher | 1928 | adaptation |
Director
| Title | Year | Status | Character |
|---|---|---|---|
| That Obscure Object of Desire | 1977 | as Luis Bunuel | |
| Le fantôme de la liberté | 1974 | ||
| The Discreet Charm of the Bourgeoisie | 1972 | as Luis Bunuel | |
| Tristana | 1970 | ||
| The Milky Way | 1969 | ||
| Belle de Jour | 1967 | as Luis Bunuel | |
| Simón del desierto | 1965 | Short | |
| Diary of a Chambermaid | 1964 | ||
| The Exterminating Angel | 1962 | ||
| Viridiana | 1961 | ||
| The Young One | 1960 | ||
| La fièvre monte à El Pao | 1959 | ||
| Nazarin | 1959 | ||
| Death in the Garden | 1956 | ||
| Cela s'appelle l'aurore | 1956 | ||
| The Criminal Life of Archibaldo de la Cruz | 1955 | ||
| Robinson Crusoe | 1954 | as Luis Bunuel | |
| Illusion Travels by Streetcar | 1954 | ||
| The River and Death | 1954 | ||
| Abismos de pasión | 1953 | ||
| El | 1953 | ||
| El bruto | 1953 | ||
| A Woman Without Love | 1952 | ||
| Mexican Bus Ride | 1952 | ||
| Daughter of Deceit | 1951 | ||
| Susana | 1951 | ||
| The Young and the Damned | 1950 | ||
| The Great Madcap | 1949 | ||
| Gran Casino | 1947 | ||
| The History of the Vatican | 1940 | Short | |
| ¡Centinela, alerta! | 1937 | co-director | |
| ¿Quién me quiere a mí? | 1936 | co-director | |
| Las Hurdes | 1933 | Documentary short | |
| L'Age d'Or | 1930 | ||
| Un Chien Andalou | 1929 | Short as Louis Bunuel |
Actor
| Title | Year | Status | Character |
|---|---|---|---|
| Le fantôme de la liberté | 1974 | Un condamné à mort (uncredited) | |
| La chute d'un corps | 1973 | Un invité (uncredited) | |
| The Milky Way | 1969 | voice, uncredited | |
| Belle de Jour | 1967 | Man in Gardencafe - Left from the Duke (uncredited) | |
| En este pueblo no hay ladrones | 1965 | Cura | |
| Llanto por un bandido | 1964 | El verdugo | |
| The Proud and the Beautiful | 1953 | Smuggler (uncredited) | |
| La hija de Juan Simón | 1935 | ||
| L'Age d'Or | 1930 | uncredited | |
| Un Chien Andalou | 1929 | Short | Man in Prolog (uncredited) |
| Carmen | 1926 | Contrebandier chez lillas pastia | |
| Mauprat | 1926 | Monk / Guardsman |
Producer
| Title | Year | Status | Character |
|---|---|---|---|
| Tristana | 1970 | producer | |
| ¡Centinela, alerta! | 1937 | producer | |
| España 1936 | 1937/II | Documentary short producer | |
| ¿Quién me quiere a mí? | 1936 | producer | |
| La hija de Juan Simón | 1935 | producer | |
| Don Quintín el amargao | 1935 | producer - uncredited | |
| Las Hurdes | 1933 | Documentary short producer | |
| Un Chien Andalou | 1929 | Short producer |
Editor
| Title | Year | Status | Character |
|---|---|---|---|
| Diary of a Chambermaid | 1964 | ||
| Death in the Garden | 1956 | uncredited | |
| Illusion Travels by Streetcar | 1954 | uncredited | |
| Susana | 1951 | uncredited | |
| Las Hurdes | 1933 | Documentary short | |
| L'Age d'Or | 1930 | ||
| Un Chien Andalou | 1929 | Short |
Miscellaneous
| Title | Year | Status | Character |
|---|---|---|---|
| Conspirators of Pleasure | 1996 | professional expertise | |
| España 1936 | 1937/II | Documentary short montage supervisor | |
| La hija de Juan Simón | 1935 | supervisor | |
| Don Quintín el amargao | 1935 | supervisor | |
| Mauprat | 1926 | production assistant |
Assistant Director
| Title | Year | Status | Character |
|---|---|---|---|
| La chute de la maison Usher | 1928 | assistant director | |
| La sirène des tropiques | 1927 | assistant director | |
| Carmen | 1926 | second second assistant director |
Composer
| Title | Year | Status | Character |
|---|---|---|---|
| The Milky Way | 1969 | ||
| L'Age d'Or | 1930 | uncredited |
Sound Department
| Title | Year | Status | Character |
|---|---|---|---|
| Le fantôme de la liberté | 1974 | sound effects | |
| The Discreet Charm of the Bourgeoisie | 1972 | sound effects - as Luis Bunuel |
Music Department
| Title | Year | Status | Character |
|---|---|---|---|
| Un Chien Andalou | 1929 | Short music selection - 1960 sonorized version |
Thanks
| Title | Year | Status | Character |
|---|---|---|---|
| Álom hava | 2017 | thanks | |
| The Well | 2016 | Short the director wishes to thank | |
| Zaratozom | 2014 | Short special thanks | |
| Nosferatu vs. Father Pipecock & Sister Funk | 2014 | special thanks | |
| Jackass Number Two | 2006 | Documentary thanks | |
| Belle toujours | 2006 | thanks |
Self
| Title | Year | Status | Character |
|---|---|---|---|
| Buñuel | 1984 | Documentary | Himself |
| Arena | 1984 | TV Series documentary | Himself |
| El náufrago de la calle Providencia | 1971 | Documentary | Himself |
| Festival international de Cannes | 1971 | TV Series | Himself |
| Berliner Bilderbogen | 1969 | TV Series | Himself |
| Cinéastes de notre temps | 1964 | TV Series documentary | Himself |
| Cinépanorama | 1960 | TV Series documentary | Himself |
| Montparnasse | 1929 | Short | Himself |
Archive Footage
| Title | Year | Status | Character |
|---|---|---|---|
| Ochéntame... otra vez | 2016 | TV Series documentary | Himself |
| Il était une fois... | 2013 | TV Series documentary | Himself |
| Spanish Hollywood | 2010 | Documentary | Himself |
| 50 años de | 2009 | TV Series | Himself |
| Pepín Bello | 2008 | Documentary | Himself |
| El último guión. Buñuel en la memoria | 2008 | TV Movie documentary | Himself |
| VI premis Barcelona de cinema | 2007 | TV Movie | |
| Cámara negra. Teatro Victoria Eugenia | 2007 | TV Short documentary | Himself |
| Protagonistas del recuerdo | 2006-2007 | TV Series | Himself |
| Filmmakers in Action | 2005 | Documentary | Himself (uncredited) |
| María querida | 2004 | Himself | |
| Épreuves d'artistes | 2004 | TV Movie documentary | Himself |
| tvSSFBM EHKL | 2001 | TV Movie documentary | Himself |
| Regarding Buñuel | 2000 | Documentary | él mismo |
| XIV premios Goya | 2000 | TV Special | Himself |
| Un Buñuel mexican | 1997 | Documentary | Himself |
| Mi primera película | 1995 | TV Series | Himself |
| Luis Buñuel en los 60 | 1984 | Short | Himself |
| Nazarin | 1984 | Short | Himself |
Won Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2007 | OFTA Film Hall of Fame | Online Film & Television Association | Creative | |
| 1982 | Career Golden Lion | Venice Film Festival | ||
| 1979 | CEC Award | Cinema Writers Circle Awards, Spain | Best Director (Mejor Director) | Cet obscur objet du désir (1977) |
| 1979 | Honorary Prize | Moscow International Film Festival | For the contribution to the cinema. | |
| 1977 | LAFCA Award | Los Angeles Film Critics Association Awards | Best Foreign Film | Cet obscur objet du désir (1977) |
| 1977 | NBR Award | National Board of Review, USA | Best Director | Cet obscur objet du désir (1977) |
| 1977 | NSFC Award | National Society of Film Critics Awards, USA | Best Director | Cet obscur objet du désir (1977) |
| 1975 | Silver Ribbon | Italian National Syndicate of Film Journalists | Best Foreign Director (Regista del Miglior Film Straniero) | Le fantôme de la liberté (1974) |
| 1974 | BAFTA Film Award | BAFTA Awards | Best Screenplay | Le charme discret de la bourgeoisie (1972) |
| 1973 | Critics Award | French Syndicate of Cinema Critics | Best Film | Le charme discret de la bourgeoisie (1972) |
| 1973 | Career Award | Sant Jordi Awards | ||
| 1972 | NSFC Award | National Society of Film Critics Awards, USA | Best Director | Le charme discret de la bourgeoisie (1972) |
| 1971 | CEC Award | Cinema Writers Circle Awards, Spain | Best Director (Mejor Director) | Tristana (1970) |
| 1970 | Sant Jordi | Sant Jordi Awards | Best Film (Mejor Película Española) | Tristana (1970) |
| 1969 | Career Golden Lion | Venice Film Festival | Homage for overall work | |
| 1969 | FIPRESCI Prize - Honorable Mention | Berlin International Film Festival | For the body of his works. | |
| 1969 | Interfilm Award | Berlin International Film Festival | La voie lactée (1969) | |
| 1968 | Critics Award | French Syndicate of Cinema Critics | Best Film | Belle de jour (1967) |
| 1968 | Bodil | Bodil Awards | Best European Film (Bedste europæiske film) | Belle de jour (1967) |
| 1967 | Golden Lion | Venice Film Festival | Belle de jour (1967) | |
| 1967 | Pasinetti Award | Venice Film Festival | Competition | Belle de jour (1967) |
| 1965 | Special Jury Prize | Venice Film Festival | Simón del desierto (1965) | |
| 1965 | FIPRESCI Prize | Venice Film Festival | Simón del desierto (1965) | |
| 1963 | Bodil | Bodil Awards | Best Non-European Film (Bedste ikke-europæiske film) | El Ángel Exterminador (1962) |
| 1961 | Palme d'Or | Cannes Film Festival | Viridiana (1961) | |
| 1961 | Bodil | Bodil Awards | Best Non-European Film (Bedste ikke-europæiske film) | Nazarín (1959) |
| 1960 | Special Mention | Cannes Film Festival | The Young One (1960) | |
| 1959 | International Prize | Cannes Film Festival | Nazarín (1959) | |
| 1956 | Golden Ariel | Ariel Awards, Mexico | Robinson Crusoe (1954) | |
| 1956 | Silver Ariel | Ariel Awards, Mexico | Best Direction (Mejor Dirección) | Robinson Crusoe (1954) |
| 1956 | Silver Ariel | Ariel Awards, Mexico | Best Screenplay (Mejor Adaptación) | Robinson Crusoe (1954) |
| 1951 | Best Director | Cannes Film Festival | Los olvidados (1950) | |
| 1951 | Golden Ariel | Ariel Awards, Mexico | Los olvidados (1950) | |
| 1951 | Silver Ariel | Ariel Awards, Mexico | Best Direction (Mejor Dirección) | Los olvidados (1950) |
| 1951 | Silver Ariel | Ariel Awards, Mexico | Best Screenplay (Mejor Adaptación) | Los olvidados (1950) |
| 1951 | Silver Ariel | Ariel Awards, Mexico | Best Original Story (Mejor Argumento Original) | Los olvidados (1950) |
Nominated Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 1978 | César | César Awards, France | Best Director (Meilleur réalisateur) | Cet obscur objet du désir (1977) |
| 1978 | César | César Awards, France | Best Sreenplay, Original or Adaptation (Meilleur scénario, dialogue ou adaptation) | Cet obscur objet du désir (1977) |
| 1978 | Oscar | Academy Awards, USA | Best Writing, Screenplay Based on Material from Another Medium | Cet obscur objet du désir (1977) |
| 1974 | Silver Ribbon | Italian National Syndicate of Film Journalists | Best Foreign Director (Regista del Miglior Film Straniero) | Le charme discret de la bourgeoisie (1972) |
| 1974 | BAFTA Film Award | BAFTA Awards | Best Direction | Le charme discret de la bourgeoisie (1972) |
| 1974 | BAFTA Film Award | BAFTA Awards | Best Sound Track | Le charme discret de la bourgeoisie (1972) |
| 1973 | Oscar | Academy Awards, USA | Best Writing, Story and Screenplay Based on Factual Material or Material Not Previously Published or Produced | Le charme discret de la bourgeoisie (1972) |
| 1970 | Silver Ribbon | Italian National Syndicate of Film Journalists | Best Foreign Director (Regista del Miglior Film Straniero) | La voie lactée (1969) |
| 1965 | Silver Ribbon | Italian National Syndicate of Film Journalists | Best Foreign Director (Regista del Miglior Film Straniero) | Le journal d'une femme de chambre (1964) |
| 1965 | Golden Lion | Venice Film Festival | Simón del desierto (1965) | |
| 1962 | Palme d'Or | Cannes Film Festival | El Ángel Exterminador (1962) | |
| 1960 | Palme d'Or | Cannes Film Festival | The Young One (1960) | |
| 1959 | Palme d'Or | Cannes Film Festival | Nazarín (1959) | |
| 1956 | Golden Ariel | Ariel Awards, Mexico | Ensayo de un crimen (1955) | |
| 1956 | Silver Ariel | Ariel Awards, Mexico | Best Direction (Mejor Dirección) | Ensayo de un crimen (1955) |
| 1956 | Silver Ariel | Ariel Awards, Mexico | Best Screenplay (Mejor Adaptación) | Ensayo de un crimen (1955) |
| 1954 | Golden Lion | Venice Film Festival | El río y la muerte (1954) | |
| 1954 | Golden Lion | Venice Film Festival | Robinson Crusoe (1954) | |
| 1953 | Grand Prize of the Festival | Cannes Film Festival | El (1953) | |
| 1953 | Golden Ariel | Ariel Awards, Mexico | Subida al cielo (1952) | |
| 1953 | Silver Ariel | Ariel Awards, Mexico | Best Direction (Mejor Dirección) | Subida al cielo (1952) |
| 1952 | Grand Prize of the Festival | Cannes Film Festival | Subida al cielo (1952) | |
| 1951 | Grand Prize of the Festival | Cannes Film Festival | Los olvidados (1950) |
2nd Place Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 1977 | NYFCC Award | New York Film Critics Circle Awards | Best Director | Cet obscur objet du désir (1977) |
| 1977 | NYFCC Award | New York Film Critics Circle Awards | Best Screenplay | Cet obscur objet du désir (1977) |
| 1973 | NYFCC Award | New York Film Critics Circle Awards | Best Screenplay | Le charme discret de la bourgeoisie (1972) |
| 1972 | NSFC Award | National Society of Film Critics Awards, USA | Best Screenplay | Le charme discret de la bourgeoisie (1972) |
3rd Place Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 1973 | NYFCC Award | New York Film Critics Circle Awards | Best Director | Le charme discret de la bourgeoisie (1972) |
Known for movies
The Exterminating Angel (1962)
as Writer
The Discreet Charm of the Bourgeoisie (1972)
as Writer
Belle de Jour (1967)
as Writer
Un Chien Andalou (1929)
as Writer