Deep Crimson (Profundo carmesí): cheap screening plan for next month

Quick constraint → immediate solution

Constraint: you have to present Arturo Ripstein’s Deep Crimson (Profundo carmesí) next month with less money. Solution: avoid the costs of a bespoke 4K festival booking by using the Criterion Channel stream or the retail Criterion 4K/Blu‑ray package; if you need the physical disc, buy the Criterion two‑disc set (4K UHD + Blu‑ray) rather than commissioning a new 4K DCP. Sources: Criterion Channel, Criterion, blu-ray.com.

What formats are available (and what they cost you)

• Streaming: The Criterion Channel carries the 2023 director’s cut — lowest upfront cost if your venue accepts subscription streaming. Source: Criterion Channel.
• Retail discs: Criterion’s package is listed as “one 4K UHD disc of the film and one Blu‑ray with the film and special features.” Buying the retail set gets you both consumer 4K and a Blu‑ray for club or campus projection. Source: Criterion.
• Release timing: The Criterion 4K/Blu‑ray two‑disc retail edition was reported with an Oct 28, 2025 release date in retail listings. Source: blu-ray.com.
• Restoration pedigree: The presentation being circulated as the restored director’s cut was “restored and digitized in 4K from the original 35mm negative in Mexico.” Use this when you advertise image quality. Source: MK2 press notes.

Which cut should you schedule?

Two runtimes are in circulation; list the version you will screen in your program copy and on tickets.

• 136 minutes — shown on Criterion’s film page and cited in Cineaste. Source: Criterion, Cineaste.
• 114 minutes — listed in MK2’s press notes for the restored director’s cut. Source: MK2 press notes.

Practical note

Before printing schedules or sending a program note, confirm which disc/stream version you have and use that runtime on all publicity. (The organizer’s/venue’s figure is the one your audience needs.) Sources: Criterion, MK2 press notes.

Credits and festival credentials to use in marketing

• Director: Arturo Ripstein; Writer: Paz Alicia Garciadiego; Producers: Miguel Necoechea and Pablo Barbachano; Cinematography: Guillermo Granillo; Editor: Rafael Castanedo; Music: David Mansfield. Source: Criterion, Cineaste.
• Principal cast: Regina Orozco, Daniel Giménez Cacho, Sherlyn González, Giovanni Florido, Julieta Egurrola, Marisa Paredes, Rosa Furman, Verónica Merchant, Bianca Florido. Source: Criterion, Cineaste.
• Festival pedigree: the restored director’s cut has screened in Venice Classics; the film received Venice festival honors in 1996 (Best Screenplay, Production Design, and Score listed in festival materials). Source: La Biennale di Venezia.

Low‑budget, next‑month checklist (do these in order)

1. Decide quality vs cost: If image quality isn’t mandatory, present the Criterion Channel stream (lowest friction). If you must project from disc, the Criterion 4K/Blu‑ray set gives you both a 4K disc and a Blu‑ray for a one‑time purchase. Sources: Criterion Channel, Criterion, blu-ray.com.
2. Confirm the cut and runtime: Check the disc or stream metadata and use that runtime in listings (136' appears on Criterion/Cineaste; MK2 press notes list 114'). Sources: Criterion, MK2 press notes, Cineaste.
3. Keep projection simple: If you only own a Blu‑ray player, program that; don’t spend on a temporary 4K DCP unless patrons expect a festival‑grade 4K projection. The Criterion retail set includes a Blu‑ray. Source: Criterion.
4. Use the restoration and extras in marketing: Advertise the film as the restored director’s cut and highlight the Criterion package’s extras (interviews and introductions noted in release materials) and the 4K restoration from the original negative. Sources: MK2 press notes, Cineaste, Criterion.
5. List credits and festival honors on the poster: Use Ripstein’s name, writer Paz Alicia Garciadiego, the principal cast, and Venice Classics screening/awards to increase turnout. Sources: Criterion, Cineaste, La Biennale di Venezia.
6. Confirm public performance rights: Before selling tickets, confirm screening rights with your distributor or rights holder; the distributor credited in press notes is MK2 for the restored cut. Source: MK2 press notes.

"I really like continuity. I prefer smooth flow over roughness. Cuts are rough. In a way, they have edges.… I would love to have a camera with wings."

— Arturo Ripstein, director (as quoted in Cineaste)

Use that quote on program notes to sell the film’s long‑take style and restored image quality. Sources: Cineaste.