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Deep Crimson

Profundo carmesí

Spain, France, Mexico

1996

111 Min
Color
1.85:1
Spanish
  • Currently 3.6/5 Stars.
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DIR Arturo Ripstein

SCR Paz Alicia Garciadiego

DP Guillermo Granillo

CAST Regina Orozco, Daniel Giménez Cacho, Sherlyn González, Marisa Paredes, Fernando Palavicini, Giovanni Florido

ED Rafael Castanedo

MUSIC David Mansfield

Sundance (Premieres): Latin American Cinema Award - Honorable Mention, Venice (Competition): Best Original Screenplay, Best Original Music, Best Set Design, New York, Toronto, Rotterdam, San Sebastián

Synopsis

In this alternately macabre and mirthful thriller, based on a true-crime story, renowned Mexican director Arturo Ripstein brings a stylish audacity to the tale of the “Lonely Hearts Killers,” a couple who, in the 1940s, posed and brother and sister to lure and murder unsuspecting widows. Featuring performances both sympathetic and stomach-churning by Regina Orozco and Daniel Giménez Cacho, Deep Crimson (Profundo carmesí) is a wild update of the same events that inspired Leonard Kastle’s The Honeymoon Killers.

Director

Original

Arturo Ripstein

Arturo Ripstein y Rosen (born December 13, 1943 in Mexico City) is a Mexican film director who got his break into movies working as an uncredited assistant director for Luis Buñuel. In 1965, he directed his first feature, Tiempo de Morir. Written by Carlos Fuentes and Gabriel García Márquez, in which he began a tradition of making independent films written by high-profile Latin-American authors. 

Many of his films are shot in tawdry interiors, with bleak brown color schemes, and seedy pathetic characters who manage to achieve a hint of pathos and dignity.

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ramosbarajas

3Nov11

In the end, it is a grotesque and horrifying story of what two individuals do to feel loved. As the film unravels, their actions become more despicable but with the masterful movement of the camera wandering the sordid interiors and the long takes, one feels part of the story as a detached voyeur. The film hits several high notes wonderfully that one begins to wonder why it isn't included in the cinematic canon.

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Santropez

22Aug10

This film is all that Haneke always wanted to be.

Picture of César

César

15Feb09

gruesome and funny at times it is ultimately a little too melodramatic

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By Maicol Andrés Ordoñez on February 16, 2009

Why is it that the poets of cinema are so drawn to stories of murders in love on the run? Is it the open road or the poetry of blood? Is it a harbored desire to be devil may care runaways themselves…  read review

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By phlogis​ton on February 15, 2009

A black comedy that veers off into the tragic and unspeakable near the end. It’s exhilarating watching this lurid train wreck unfold. Underpinning this spectacle are intense and ultimately believable…  read review

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