![](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2026\/07\/7543morgdeep.png\")
<\/p>\nWe welcome Terry Morgan to CineSavant as a reviewer. Terry Morgan has been writing professionally since 1990 for publications such as L.A Weekly, Backstage West and Variety. He has a column reviewing horror films on Trailers from Hell called Watching the Dark. Terry\u2019s love of horror cinema knows no bounds, though some have suggested that a few bounds might not be a bad thing.<\/p>\n
<\/p>\n
Deep Crimson \u00a0<\/p>\n Director Arturo Ripstein\u2019s film transposes a version of the real-life Lonely Hearts Killers murder spree from the late 1940s in the United States to an unspecified but similar time period in Mexico. Coral (Regina Orozco) works as a nurse in a terminal ward and is raising two small children by herself. This sounds like it could be inspirational, but it\u2019s not. She\u2019s a terrible mother (she admits that sometimes she forgets that her kids exist) and is really only focused on the visions of romance that she reads in cheap novels and sees in the films of Charles Boyer. When she sees a personals ad from a man claiming he looks like Boyer, she responds to it eagerly.<\/p>\n Nicol\u00e1s (Daniel Gim\u00e9nez Cacho) is a con man who makes his living by stealing money from lonely women. He looks vaguely like a Spanish version of Boyer, but only when Nicol\u00e1s is wearing a toupee to hide his semi-baldness. When he meets Coral, she worries that her self-perceived fatness and bad breath will drive him away, but she\u2019s thrilled that it doesn\u2019t. But that\u2019s because he\u2019s only there to sleep with her and steal her money while she\u2019s asleep, which he does.<\/p>\n Nicol\u00e1s is very surprised when he returns home one day to find Coral and her two children in his house. She declares that she and the kids are moving in with him because of the great love between her and Nicol\u00e1s. He insists that he couldn\u2019t possibly live with the kids, hoping that will make her go away. Instead, shockingly, she dumps the children at an orphanage. Touched by the extremity of her act, he agrees to let Coral be part of his thieving life, posing as his sister.<\/p>\n Their first mark is a drunk lady named Juanita (Julieta Egurrola), who meets them in a bar and immediately starts brazenly flirting with Nicol\u00e1s. That\u2019s the plan, but when Juanita insults Coral\u2019s weight, Coral becomes violently jealous and puts rat poison in Juanita\u2019s drink. Adapting quickly to the situation, they take her money and leave her to die on a bench outside a train station. Eventually the murders of the target women just become a routine part of the scam, but when Nicol\u00e1s actually falls in love with one of his victims, his dark romance with Coral finally comes to a horrifying conclusion.<\/p>\n The Ariel awards are considered the Mexican equivalent to the Oscars, and in 1997 Deep Crimson won the awards for Best Actor and Actress, as well as Best Supporting Actress, and, indeed, the performances in this movie are outstanding. Orozco, who prior to this project had primarily been an opera singer, is amazing as Coral, taking a character who is monstrous in so many ways and making you identify with her tortured humanity regardless. Cacho is great as Nicol\u00e1s, terrific at delivering his seductive patter (leaning on Spanish literary clich\u00e9, referring to Coral as his Dulcinea) but even better at displaying his character\u2019s self-disgust (he thinks his baldness makes him \u201cdeformed\u201d), lovingly brushing his treasured toupee. Egurrola gives the picture a jolt of rude energy as Juanita, jamming in an entire film\u2019s worth of character detail into one scene in an intense, funny portrayal.<\/p>\n Considering the generally uncomfortable (and sometimes very disturbing) subject matter, Deep Crimson never feels exploitative. Director Ripstein\u2019s work instead seems more distanced, not so much judging the characters as simply presenting them and letting the audience members decide for themselves how they feel. He\u2019s fond of long takes, the camera swooping about like a snoopy but unhurried voyeur. Everything looks shabby and run-down, and yet Guillermo Granillo\u2019s (Ariel award-winning) cinematography captures it with an elegant grace. David Mansfield\u2019s score is emotionally resonant, a cheerful processional on the road to Hell.<\/p>\n Paz Alicia Garciadiego\u2019s script is detailed and weirdly tender between all the murders, positing that even such seemingly irredeemable protagonists as these can still feel love for each other. There\u2019s a strain of dark humor to mitigate the seriousness, as in a line where someone says of Coral\u2019s breath, \u201cIt\u2019s as if there\u2019s something dead in her mouth,\u201d or when a religious woman offends Coral by offering her a tablecloth to wear. The writing is full of quirky and memorable incidents, such as a wedding held in a cemetery or Coral creating a new toupee for a grateful Nicol\u00e1s made from her own hair. But Garciadiego\u2019s script doesn\u2019t look away from the truly awful things that happen in the story, including a couple of moments that are extremely hard to watch.<\/p>\n \u00a0<\/p>\n Criterion\u2019s 4K Ultra HD + Blu-ray of \u00a0Deep Crimson looks and sounds terrific, but the story of how this restored director\u2019s cut came to be is fascinating. Ripstein describes in an interview on the extras Blu-ray that when the film was made in 1996, the conservative Mexican government cut out things it found disturbing, which the director thought hurt the impact of the movie. On top of that, the French production company made him cut twenty minutes so the runtime would be under two hours. He sent all the excised footage to Stanford, where it stayed until almost thirty years had passed. The government had changed, and so now he could restore the footage. It took two years to do that from the negative, but there was no sound, so he contacted the original actors to redub those scenes. According to Ripstein, the film has finally been released the way he intended it to be three decades ago.<\/p>\n Extras include the previously mentioned introduction by Ari Aster, which is surprisingly informative. Aster describes the film as a hard one to recommend to people because it\u2019s upsetting, calling it both \u201csqualid and funny\u201d and \u201cfearless and unsparing.\u201d He describes Ripstein as a provocateur, compares him to Flannery O\u2019Connor and says that \u201cgallows humor defines Ripstein\u2019s work.\u201d The Criterion box includes a poster of the Blu-ray\u2019s cover with a somewhat academic essay on Ripstein\u2019s career by Haden Guest printed on the back.<\/p>\n Two interviews and a Q&A panel are also included on the Blu-ray. The interview with Ripstein is compelling as he discusses his past and artistic process. He mentions that his father was a friend of Luis Bu\u00f1uel, and how he himself worked as an assistant on Bu\u00f1uel\u2019s \u00a0The Exterminating Angel<\/a>. He discusses the beginning of \u201cMexican auteur cinema\u201d in the 1960s and says, \u201cdirection is a pathology.\u201d Garciadiego\u2019s (she\u2019s also Ripstein\u2019s wife) interview is equally interesting, and she discusses her unique version of screenwriting (her first script ran 350 pages!). She says that one of the tragedies of the Deep Crimson story is that \u201clove exists, and unfortunately it\u2019s worth it.\u201d There\u2019s also an AMPAS Q&A panel discussion included which unfortunately repeats a lot of the same material from the individual interviews.<\/p>\n Here\u2019s the info from Criterion\u2019s site<\/a>.<\/p>\n Reviewed by Terry Morgan<\/p>\n Deep Crimson Visit CineSavant\u2019s Main Column Page<\/a>
4K Ultra HD + Blu-ray
The Criterion Collection 1285
1996 \/ Color \/ 1:85 widescreen \/ 136 min.
Available through The Criterion Collection<\/a> \/ Street Date October 28, 2025 \/ 49.95
Starring: Regina Orozco, Daniel Gim\u00e9nez Cacho.
Written by Paz Alicia Garciadiego
Directed by Arturo Ripstein<\/p>\n![](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/08\/6250CSlogoleft0120.png\")
<\/a>Let\u2019s just clear this up, right from the start: the title Deep Crimson sounds an awful lot like Deep Red but trust me when I say that the two films couldn\u2019t be more different. I\u2019ve no doubt that people have rented Deep Crimson and started watching it expecting the surreal craziness of Dario Argento\u2019s 1975 Deep Red and instead being puzzled by seeing a Mexican period piece in its place. Both films are about murders, but otherwise they\u2019re utterly unlike each other. So now that we know what Deep Crimson isn\u2019t, what is it? In his knowledgeable introduction to the Criterion edition of the movie, director Ari Aster (Hereditary) refers to it as a masterpiece. I wouldn\u2019t go quite that far in my assessment, but there\u2019s no doubt that this is a great and disturbing film.<\/p>\n![](\"https:\/\/cinesavant.com\/wp-content\/uploads\/2026\/07\/7543a1.png\")
<\/p>\n![](\"https:\/\/cinesavant.com\/wp-content\/uploads\/2026\/07\/7543b.png\")
<\/p>\n![](\"https:\/\/cinesavant.com\/wp-content\/uploads\/2026\/07\/7543c.png\")
<\/p>\n![](\"https:\/\/cinesavant.com\/wp-content\/uploads\/2026\/07\/7543d.png\")
<\/p>\n![](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2026\/07\/5550crit1017.jpg\")
<\/p>\n
4K Ultra HD + Blu-ray
Deaf and Hearing-impaired Friendly? YES; Subtitles: English (feature only)
Packaging: One Blu-ray in Keep case
Reviewed: July 4, 2026
(7543morgdeep)![\"CINESAVANT\"](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/08\/6250twologo0120small.jpg\")
<\/p>\n
Glenn Erickson answers most reader mail: cinesavant@gmail.com<\/a><\/p>\n
![\"\"](\"https:\/\/www.newsbeep.com\/uk\/wp-content\/uploads\/2025\/08\/6350bookbanner.jpg\")
<\/a><\/p>\n