The Criterion Voyages (Spine #1222): VICTIMS OF SIN -- A Beautiful, Progressive Cine de Rumberas

By Sean Boelman

Some of the most exciting films to be added to the Criterion Collection are true, underseen discoveries. Emilio Fernández’s Victims of Sin is one such film, a potent Latin-American melodrama with a consistently gripping story and enthralling visuals that allow it to stand out as a highlight in Mexican cinema. 

The movie takes place in a Mexican nightclub, where a dancer unexpectedly chooses to rescue an abandoned baby from a garbage can. In the aftermath of this fateful decision, she must deal with the baby’s pachuco father and the community that has begun to ostracize her for her choice. Victims of Sin is often an extremely sensationalistic film, but it approaches even the most exaggerated plot points with full-hearted authenticity.

Victims of Sin is an example of a movie in the cine de rumberas movement, which was a prominent part of Mexico’s Golden Age in cinema. Because of this, the film contains extended sequences of cabaret-style dancing and singing performances, which are utterly mesmerizing. Yet, while these sections are fun to watch, their content, both in lyrics and emotions, pushes the story forward as well.

Gabriel Figueroa's black-and-white cinematography is incredible and looks stunning in the beautiful 4K restoration. There’s a fluidity to it — particularly during the rumberas sequences — that lends the movie an infectious energy. The juxtaposition of these moments against the melodrama makes those devastating moments hit that much harder.

Victims of Sin boldly tackles progressive themes, especially for its time in 1951. It offers a powerful feminist perspective on a patriarchal society, which still, unfortunately, resonates today. The movie’s critique of the justice system's failures to protect women from crimes like domestic abuse is also still uncomfortably relevant, making this stand out as an eerily timeless work of Latin American cinema.

The other aspect of Victims of Sin that stands out particularly well is its cast. Lead actress Ninón Sevilla gives a fantastic performance, pulling double duty. Her turn is equal parts physical and emotional. Of course, she thrives in the dance sequences, and her dance skills give her a command of expressing her emotions through mannerisms and motion. However, she also brings a ton of vulnerability to the dialogue-driven portions. It’s a skilled and balanced performance. The male cast is nowhere near as nuanced, but they do an effective job of playing to the archetypes of their roles.

In terms of bonus features, the Criterion Collection edition of Victims of Sin is a wealth of riches. Highlights include an interview with filmmaker and archivist Viviana Garcia Besné and another with cinematographer Rodrigo Prieto (Killers of the Flower Moon) about Gabriel Figueroa’s work. There is also a documentary on the cine de rumberas movement, which includes interviews with Sevilla.

Victims of Sin is an incredible film, both for the period in which it was created and for today. It holds up phenomenally thanks to excellent cinematography, strong performances, and a thoughtful, progressive approach to its themes. This makes the movie a wonderfully undersung piece of Latin American cinematic history.

The Criterion Collection edition of Victims of Sin is now available.