Interview with Arturo Ripstein: No Contest

Abstract

I like survivors. Marginal characters. Events and scenes where my characters are at the end of their rope. And they keep on and on and on. That is only the beginning of Deep Crimson's filmmaking notes by Arturo Ripstein, which were published in 1996 by the Spanish film magazine Nosferatu . The renowned film director creates a flash self-portrait, without wanting to. He is a survivor of a long history of film making almost four decades and forty movies so far and for the past few years he has been marginalized above all from the so called Renaissance of the Mexican Film. With only two or three movies monopolizing the attention of the media, just a few mention the prolific rhythm with which Ripstein has filmed since 1966. From the filmmaker's outline of his favorite creatures, the trait he doesn't agree with is to define them as weak. The interview that follows took place in San Sebastian, location of the film festival where Ripstein alternates between being a