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Perdita Durango
Theatrical release poster by Oscar Mariné
Directed byÁlex de la Iglesia
Screenplay by
Based on59° and Raining: The Story of Perdita Durango by Barry Gifford
Produced byAndrés Vicente Gómez
Starring
CinematographyFlavio Martínez Labiano
Edited byTeresa Font
Music bySimon Boswell
Release date
  • 31 October 1997 (1997-10-31) (Spain)
Running time
126 minutes
Countries
  • Spain
  • United States
  • Mexico
Languages
  • English
  • Spanish

Perdita Durango, released as Dance with the Devil in the United States, is a 1997 action-crime-horror film directed by Álex de la Iglesia, based on Barry Gifford's 1992 novel 59° and Raining: The Story of Perdita Durango. It stars Rosie Perez as the title character and Javier Bardem. Harley Cross, Aimee Graham, James Gandolfini, and Screamin' Jay Hawkins appear in supporting roles. It is a Spain–United States–Mexico coproduction.[1]

In the film, an imposter Santeria priest resorts to bank robbery to pay his debts. Afterwards, he finds a new partner in a woman he randomly met. She convinces him to include human cannibalism in his ceremonies, and to kidnap gringo college students with her. The priest heads to Las Vegas with his new companions, to meet with a gangster. Unfortunately for the priest, his supposed business associate wants him dead and has already hired a hit man for the job.

Plot

[edit]

Perdita Durango has gone to Mexico to scatter the ashes of her dead sister. There, she is picked up by bank-robbing drug dealer Romeo Dolorosa. Dolorosa had robbed the bank to pay off his debt to loan shark "Catalina". He also engages in scams in which he pretends to be a Santeria priest and hacks up corpses while snorting cocaine.

Romeo's latest scam is working for gangster Mr. Santos transporting refrigerated human fetuses to Las Vegas where they will be used to make cosmetic moisturizer.

Perdita devises a plan that they should capture a gringo and eat him as part of Romeo's ceremonies. They kidnap randomly chosen geeky college student Duane and his girlfriend Estelle. First, Perdita rapes Duane while Romeo rapes Estelle. They hold a ceremony to sacrifice Estelle while they force Duane to watch. Before the girl can be killed, the sacrifice is interrupted by a gang of men led by Shorty Dee, a betrayed former partner of Romeo.

Romeo and Perdita escape with Duane and Estelle still their captives. The four go to the meeting with Santos' people to pick up the truckload of fetuses. However, the hand-off is interrupted by drug enforcement agent Woody Dumas. Santos' men are all killed. Romeo escapes and drives to Vegas with Duane, while Perdita follows with Estelle.

On the trip, Romeo finds out his grandmother's house was raided by some of Catalina's men as punishment for Romeo's unpaid debt. Romeo visits Catalina in a club, pretending to offer Estelle as payment. When he gets Catalina alone, Romeo kills him.

Romeo, Perdita, Duane and Estelle finally get to Vegas. However, Dumas has been following them all the way. Moreover, the drop has become a trap for Romeo; Santos is upset about all the deaths at the pickup so he has hired Romeo's cousin Reggie to kill Romeo.

Romeo and his one-armed ex-Marine buddy Doug go to the drop, tipped off about the double-cross. Romeo leaves Perdita to watch the hostages, but Perdita's nervousness overcomes her. She lets Estelle and Duane go so she can check on her lover.

Reggie kills Doug and Perdita arrives just in time to see Reggie shoot Romeo in the back, killing him. Perdita shoots and kills Reggie and then flees as the cops bust in, led by Dumas, intending to arrest the men but instead finding them all dead.

Alone now, Perdita walks the Las Vegas Strip mourning Romeo.

Versions

[edit]

The original Spanish version runs 10 minutes longer and features more sex and violence and ends with some characters digitally morphing into the scene finale from Vera Cruz.

The film is available in the United States on VHS/DVD in two versions: the edited 115 min. R-rated version and a 121 min. unrated version. Both of these are shorter than the Spanish version which has gotten a Blu-ray release in the United States.[2][3]

Cast

[edit]

Awards and nominations

[edit]
Year Award Category Nominee(s) Result Ref.
1998 12th Goya Awards Best Production Supervision José Luis Escolar Won [5]
Best Original Score Simon Boswell Nominated
Best Costume Design María Estela Fernández, Glenn Ralston Nominated
Best Makeup and Hairstyles José Quetglás, Mercedes Guillot Won

References

[edit]

Bibliography

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Perdita Durango

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from Grokipedia
Perdita Durango is a 1997 Spanish-Mexican action-crime-horror film directed by Álex de la Iglesia.[1] The movie stars Rosie Perez in the title role as a young Mexican woman entangled in crime and Santería rituals, alongside Javier Bardem as her partner Romeo Dolorosa, a self-proclaimed priest.[1] It is an adaptation of the 1992 novella 59° and Raining: The Story of Perdita Durango by American author Barry Gifford, which forms part of his collection Sailor's Holiday: The Wild Life of Sailor and Lula.[2] The plot follows Perdita and Romeo, an amoral couple who practice voodoo-like rituals and embark on a violent road trip from Mexico to Las Vegas, kidnapping two American teenagers along the way for a human sacrifice ceremony tied to Santería beliefs.[3] Their journey involves bank robberies, drug dealing, and escalating brutality, blending elements of crime thriller, horror, and dark comedy.[1] The film was released in Spain on October 31, 1997, and later in the United States under the title Dance with the Devil.[1] Produced as a co-production between Spain and Mexico, Perdita Durango features a multinational cast including James Gandolfini and was shot primarily in English and Spanish.[1] It received mixed reviews for its over-the-top violence and stylistic flair, with some critics praising Bardem's intense performance and de la Iglesia's direction, while others noted its excessive gore and uneven pacing.[3] The film has since gained a cult following for its bold adaptation of Gifford's surreal, crime-infused narrative style.[2]

Background

Source material

The primary source material for Perdita Durango is American author Barry Gifford's 1992 novella 59° and Raining: The Story of Perdita Durango, which originated as a story in his 1991 collection Sailor's Holiday: The Wild Life of Sailor and Lula (Random House).[2] The narrative explores the outlaw romance between protagonists Perdita Durango and Romeo Dolorosa, intertwining elements of criminal underworld intrigue with supernatural motifs such as Santería rituals.[4] The standalone edition is a slim, 120-page volume that was reissued in 1996 under the title Perdita Durango by Grove Press, emphasizing its standalone appeal within Gifford's broader oeuvre.[4][5] The novella fits as a peripheral tale in Gifford's expansive "Sailor & Lula" universe, which chronicles the chaotic exploits of star-crossed lovers Sailor Ripley and Lula Pace Fortune across multiple interconnected works beginning with Wild at Heart (1990).[6] Here, Perdita emerges from a minor role in the earlier book to anchor her own story, extending the series' themes of doomed passion and American underbelly wanderings without directly involving the central duo.[7] Gifford's style in 59° and Raining fuses crime fiction's hardboiled tension with horror-tinged surrealism, delivered through a pulp-inspired format of terse prose, regional dialects, and escalating absurdity that evokes a "screwball noir" aesthetic.[8] This approach draws on influences like Jim Thompson's existential grit and Dostoevskian moral ambiguity, prioritizing visceral dialogue and manic plot propulsion over conventional resolution.[8] The result is a hallucinatory road narrative that captures the lurid, lower-strata pulse of mid-20th-century Americana.[9]

Development

Following the success of his 1995 film The Day of the Beast, Spanish director Álex de la Iglesia selected Perdita Durango as his English-language debut to broaden his appeal in international markets, particularly the United States, where he sought to channel influences from American pulp fiction and crime genres.[10][11] The project, an adaptation of Barry Gifford's 1992 novella 59° and Raining: The Story of Perdita Durango, allowed de la Iglesia to explore themes of border violence and cultural mysticism drawn from Gifford's gritty, surreal narrative style reminiscent of pulp traditions.[12] The screenplay was co-written by de la Iglesia, Gifford, David Trueba, and frequent collaborator Jorge Guerricaechevarría, expanding significantly on the novella's core elements to heighten the film's visceral energy.[12] Key additions included amplified depictions of voodoo rituals, emphasizing Perdita's Santería practices as a chaotic force driving the protagonists' descent into madness, and intensified border-crossing action sequences that culminate in a climactic showdown evoking Sam Peckinpah's Westerns.[11] These enhancements blended the source material's lovers-on-the-run motif with de la Iglesia's signature blend of horror, satire, and excess, while careful trimming ensured the script avoided an X-rating in the U.S.[11] To maximize American market potential, initial casting focused on English-speaking leads capable of delivering the film's bilingual dialogue and high-octane performances.[10] De la Iglesia prioritized actors with crossover appeal, ultimately attaching Rosie Perez for the titular role to infuse authenticity into Perdita's fiery, multicultural persona, alongside Javier Bardem as her partner Romeo Dolorosa, whose bilingual skills bridged the production's Spanish-Mexican-American dynamics.[11] This approach underscored the film's ambition as a co-production involving Spanish, Mexican, and U.S. financing, aiming to transcend national boundaries.[13]

Production

Pre-production

The pre-production phase of Perdita Durango focused on assembling financial backing and logistical elements for a Spanish-Mexican co-production designed to appeal to international audiences, particularly in the US market. The film's budget was set at approximately $8 million, positioning it as a mid-range project for its era and enabling ambitious elements like cross-border location work and high-profile casting.[12] Financing was secured through key Spanish entities such as Sogetel and Lolafilms, alongside Mexican partners including Mirador Films, with additional support from Canal Plus Spain. This collaborative structure reflected the film's thematic emphasis on border cultures and allowed for cost efficiencies, as shooting in Mexico was estimated to be 25% cheaper than in Spain.[12][14] Casting was finalized with an eye toward star power for crossover success, selecting Rosie Perez to play the lead role of Perdita Durango, leveraging her rising fame from Spike Lee's Do the Right Thing (1989) and her established persona as a dynamic Latina performer. Javier Bardem was cast as Romeo Dolorosa, capitalizing on his growing prominence in Spanish cinema following roles in films like Jamón Jamón (1992).[15][12] Location scouting targeted the US-Mexico border region to evoke an authentic Southwest noir atmosphere, with sites identified in Arizona (including Tucson, Nogales, and the Sonoran Desert) and northern Mexico (such as Tijuana), alongside Las Vegas for later sequences.[16][12]

Filming

Principal photography for Perdita Durango commenced on September 3, 1996, and wrapped on November 23, 1996.[16] The production was conducted primarily in English to facilitate an international release, though some scenes incorporated Spanish dialogue to reflect the border setting.[17] Filming occurred across several locations in the American Southwest and northern Mexico to evoke the gritty authenticity of the U.S.-Mexico border. Key sites included the cities of Tucson and Nogales in Arizona, the expansive Sonoran Desert, and Tijuana in Baja California, with additional shoots in other Mexican locales.[16] The movie was shot on 35mm film using Arriflex cameras, a setup that supported the film's energetic visual style through handheld and dynamic cinematography, particularly in the chaotic action and pursuit sequences.[18][11] Cinematographer Flavio Martínez Labiano employed these techniques to heighten the sense of urgency and disorder in the narrative's violent episodes.[19] On-set challenges arose from the need to handle the film's explicit depictions of violence, nudity, and Santería rituals, which demanded careful coordination for performer safety, logistical planning, and respect for cultural elements in the border regions.[20] The ritualistic scenes, inspired by real Santería practices, required sensitivity to avoid misrepresentation while executing the story's intense supernatural and criminal themes.[12]

Plot

Synopsis

In El Paso, Texas, Perdita Durango, a fervent practitioner of Santería, crosses paths with Romeo Dolorosa, an ex-convict and self-proclaimed brujo who leads a cult-like following in the religion's darker rites. The two ignite an intense, passionate romance almost immediately, bonding over their shared devotion to Santería and a mutual appetite for chaos and crime. Romeo enlists Perdita in his latest scheme: hijacking a truckload of human fetuses for delivery to a cosmetics company as part of a mob scheme—to Las Vegas, where they plan to perform a grand sacrificial ritual to invoke supernatural power and secure their future.[12] As they set out on their cross-desert journey, Romeo and Perdita spot a young couple, Estelle and Duane, parked in a lovers' lane, and impulsively kidnap them to serve as virgin sacrifices for the impending ceremony. The captives are subjected to horrifying initiations, including ritual possessions where Romeo channels spirits, drinks blood, and rips out a heart in a frenzied offering, all while Perdita participates with zealous fervor. The road trip devolves into a blend of hallucinatory horror and raw brutality, marked by repeated rapes of the hostages, cold-blooded murders of rivals and pursuers, and frantic chases through the arid Southwest as federal agents and a vengeful mob boss close in.[15][21] Their outlaw odyssey, fusing elements of crime thriller, supernatural terror, and doomed romance, races toward a explosive climax inside a glittering Las Vegas casino, where the couple's rituals collide with reality in a storm of gunfire, betrayal, and sacrificial frenzy.[12][22]

Versions

The original uncut Spanish version of Perdita Durango, released in 1997, runs for approximately 130 minutes and includes the full extent of the film's explicit content, such as extended Santería rituals, graphic sexual violence, and gore-heavy sequences that underscore the story's themes of crime, mysticism, and brutality.[17][23] This version preserves the director Álex de la Iglesia's intended vision, with unedited depictions of ritualistic sacrifices and assaults that integrate deeply into the narrative's exploration of Perdita and Romeo's chaotic journey.[17] In contrast, the United States release, titled Dance with the Devil, was heavily censored to secure an MPAA R-rating, resulting in a runtime of about 115 minutes by removing around 14 minutes of material, primarily graphic elements like specific rape scenes, excessive nudity, and violent deaths.[17][24] An unrated U.S. version extends to roughly 121 minutes but still omits some footage for copyright reasons, such as clips from Vera Cruz, and tones down certain acts of sexual violence and gore to broaden appeal.[17] These cuts particularly affect scenes involving child endangerment and ritualistic abuse, altering the film's raw intensity.[25] International versions vary by regional censorship standards, with European releases typically ranging from 110 to 120 minutes; for instance, the Australian cut clocks in at 119 minutes, excising portions of sex scenes, the black magic ceremony, and interactions like Santos's meeting with a side character, while the UK version further shortens this by 37 seconds, heavily editing a rape sequence involving a handcuffed woman and an attack on a girl.[17][24] Such alterations impact the narrative pacing by condensing subplots, including those centered on the FBI agent pursuing the protagonists, which reduces the tension built through investigative side threads and makes the story feel more streamlined but less layered.[17] Overall, these edits prioritize market accessibility over the original's uncompromised depiction of moral descent and cultural taboo.[25]

Cast

Lead roles

Rosie Perez portrays Perdita Durango, a fiery, amoral Tex-Mex spitfire and devotee of Santería whose remorseless and gutter-mouthed personality fuels her volatile partnership with Romeo Dolorosa.[12] Her bilingual performance, mixing English and Spanish to reflect the character's borderland origins, is complemented by a physical transformation featuring cat-eyed sunglasses, ruby red lips, and long black talons that amplify her dangerously sexy and menacing presence.[26] Javier Bardem plays Romeo Dolorosa, a charismatic criminal, bank robber, and Santería brujo defined by his demonic charisma and intense physicality, embodied through long tresses, tattoos, heavy jewelry, sleek black threads, and snakeskin boots.[12] This role marked Bardem's breakout international performance, showcasing his strutting, psycho-sorcerer energy and thrusting him toward global fame ahead of his Academy Award win.[12] The leads' dynamic centers on Perdita's fervent spiritual devotion to Santería, which intertwines with Romeo's ritualistic obsessions to ignite their shared path of crime and supernatural excess.[26]

Supporting roles

Harley Cross plays Duane, a naive and innocent teenage boy kidnapped by the protagonists along with his girlfriend, embodying vulnerability and cultural naivety that contrasts sharply with the film's amoral leads and their ritualistic crimes. His character's wide-eyed apologies for historical injustices against Mexicans underscore themes of white guilt amid the escalating horror.[15][12] Aimee Graham portrays Estelle, Duane's girlfriend and co-victim, whose abduction and subjugation amplify the narrative tension as she faces defilement and potential sacrifice in a Santeria ceremony. Her role highlights the couple's exploitation of youthful innocence, transforming the teens from carefree spring breakers into terrified participants in the underworld's brutality.[15][12] James Gandolfini appears as Willie "Woody" Dumas, a sleazy DEA agent doggedly pursuing Romeo and Perdita across the border, representing corrupt law enforcement entangled in the smuggling trade. His character's self-serving motives add layers to the criminal ecosystem without overshadowing the central duo.[12] Alex Cox portrays Agent Doyle, a Texan lawman who tracks the fugitives and intervenes during a climactic ritual, contributing to the chaotic intersection of authority and occult elements in the story. Meanwhile, Santiago Segura plays Shorty Dee, Romeo's betrayed former partner in crime who disrupts the Santeria proceedings in a vengeful intrusion, emphasizing the betrayals within the criminal syndicate.[12] Additional supporting performers, including Don Stroud as the mobster Santos, Demian Bichir as the enforcer Catalina, and Carlos Bardem as Reggie San Pedro, populate the seedy border underworld of smugglers and gangsters, providing texture to the film's depiction of organized vice and ritualistic deviance without dominating the protagonists' arc. Screamin' Jay Hawkins delivers a memorable turn as Adolfo, the eerie Santeria priest presiding over the human sacrifice ceremony, infusing the ensemble with grotesque authenticity drawn from real cult practices.[15][12]

Release

Distribution

Perdita Durango premiered at the San Sebastián International Film Festival on September 25, 1997, marking its international debut.[27] The film received a wider theatrical release in Spain on October 31, 1997, handled by distributor Sogepaq.[28] This rollout capitalized on director Álex de la Iglesia's emerging profile after the cult success of his previous film, The Day of the Beast.[12] In the United States, the film was retitled Dance with the Devil and saw a limited arthouse theatrical release in 1998, following festival screenings such as at the Brisbane International Film Festival in July and August of that year.[29] As a co-production between Spain and Mexico, its Mexican involvement facilitated distribution across Latin American markets, enabling broader regional access beyond Spain.[30] European expansion occurred throughout 1997 and 1998, with releases in countries including Portugal in February 1998.[28] Marketing strategies highlighted the film's potential cult appeal, drawing on its transgressive themes and high-energy style. Promotional posters prominently featured stars Rosie Perez and Javier Bardem to attract audiences familiar with their work, while tying the project to de la Iglesia's reputation for bold, genre-blending cinema.[31]

Alternative titles and cuts

The film was released under its original Spanish title, Perdita Durango, in Spain and Mexico, while English-speaking markets such as the United States and United Kingdom adopted the alternative title Dance with the Devil. In some Latin American regions, it occasionally appeared as Danza con el diablo.[24][32] Various edited versions circulated due to censorship, with the uncut director's cut—running 130 minutes—first made available in high definition in the United States via Severin Films' 2021 4K UHD release, marking the initial uncut HD edition for that market. Earlier home video formats, including DVDs from the late 1990s and early 2000s, typically featured censored cuts that trimmed sex, violence, and horror elements to comply with ratings boards, resulting in runtimes as short as 105–120 minutes depending on the edition.[33][34][24] Regional censorship significantly impacted home video availability; in the United Kingdom, the British Board of Film Classification (BBFC) required cuts totaling around 37 seconds for the initial 18-rated VHS and DVD releases, primarily excising graphic rape scenes and violent attacks, which limited early uncut distribution until later editions restored the footage. Similar trims occurred in other territories, such as Australia and North America, where R-rated versions omitted over two minutes of content, affecting the film's accessibility in its full form for years.[35][36][17] Severin Films' 2021 restoration involved a 4K remaster from the original camera negative, preserving the film's photochemical aesthetic and vibrant color grading while enabling the first uncut presentation in high resolution for international audiences.[37][33]

Reception

Critical response

Upon its release, Perdita Durango received mixed reviews from critics, reflected in aggregate scores such as a 43% approval rating on Rotten Tomatoes based on 14 reviews, with a consensus describing it as an over-the-top blend of genres that divides audiences on its sleazy, Rodriguez-inspired style.[3] On IMDb, the film holds a 6.3 out of 10 rating from over 10,000 user votes, indicating a similarly polarized reception among viewers.[1] Critics praised the lead performances, particularly Javier Bardem's charismatic and powerful portrayal of Romeo Dolorosa, which showcased his magnetic presence in the Santeria ritual scenes and helped elevate his international profile.[12] Rosie Perez delivered a fine, remorseless performance as Perdita, marked by scornful glances and coiled sexual energy, though some noted it was somewhat overshadowed by Bardem.[12] Director Álex de la Iglesia was commended for his ambitious handling of the material, employing muscular sound design, a punchy soundtrack, and widescreen cinematography to blend apocalyptic sex, violence, and voodoo in a trashy comic-strip aesthetic reminiscent of From Dusk Till Dawn, though not as consistently hip.[12] However, the film faced criticism for its exploitative depictions of violence, including graphic rape scenes that were heavily censored in various international versions, contributing to perceptions of gratuitous excess.[17] Uneven pacing was another common complaint, exacerbated by inconsistencies across cuts—such as the removal of key narrative scenes in the Australian version that disrupted emotional flow, or the American "uncut" edition's omission of fantasy sequences—resulting in a disjointed experience despite the original Spanish cut's lengthier runtime.[17] Initially viewed as a commercial misfire due to its ambitious $8 million budget and failure to fully coalesce its wild elements, the film was seen by some as not fast or fun enough in its theatrical form.[12] Over time, Perdita Durango developed a cult following among horror enthusiasts in the 2000s, appreciated for its anarchic themes of outlaw love, narco-satanic rituals, and unapologetic transgression inspired by real-life figures like Adolfo Constanzo.[26] This status was further solidified by a 2021 4K UHD restoration and release from Severin Films, which revived interest through its high-quality presentation of the film's lurid, boundary-pushing content and positioned it as a hard-core cult item for fans of extreme cinema.[33][38] In a 2024 interview, lead actress Rosie Perez expressed enthusiasm for potentially reprising her role, highlighting the film's enduring appeal.[39]

Box office performance

Perdita Durango had a limited theatrical release, beginning in Spain on October 31, 1997, where it grossed approximately 2.57 million euros, equivalent to about $2.8 million USD at contemporary exchange rates.[40] In the United States, released under the title Dance with the Devil in a censored version, the film earned just $28,091 during its brief run.[41] Worldwide theatrical earnings totaled under $3 million, far short of its reported $8 million budget, marking it as a commercial disappointment.[12] The film's underperformance stemmed from its provocative themes of graphic violence, sexual assault, and occult rituals, which restricted mainstream distribution and audience appeal despite ambitions for a U.S. crossover with English-language production and stars like Rosie Perez and Javier Bardem.[12] Released amid a competitive 1997 market dominated by blockbusters such as Titanic and Men in Black, it struggled to gain traction, particularly internationally where high expectations for broader success were unmet.[42] In contrast, director Álex de la Iglesia's prior film, The Day of the Beast (1995), achieved domestic success in Spain with over 4 million euros in earnings and more than 1.4 million admissions.[43] Over time, the film found a niche audience through home video, with modest sales aiding partial recovery toward break-even status, particularly via cult-oriented releases like the uncut 4K UHD edition from Severin Films in 2021.[44] Its enduring cult following in Europe, driven by restored versions highlighting its exploitation elements, has sustained interest beyond initial theatrical failure.[22]

Awards and nominations

Wins

At the 12th Goya Awards held in 1998, Perdita Durango received two technical awards: Best Production Supervision for José Luis Escolar and Best Makeup and Hairstyling for José Quetglás and Mercedes Guillot.[45] At the 1998 Fantafestival, the film won Best Film for its direction by Álex de la Iglesia, and Best Actress for Rosie Perez's performance.[46]

Nominations

Perdita Durango received several nominations at major award ceremonies, recognizing its technical achievements and international appeal, though it did not secure victories in these categories. Javier Bardem received a nomination for the Award of the Spanish Actors Union for Lead Performance in Film at the 1998 ceremony.[46]

Goya Awards (1998)

The film earned two nominations at the 12th Goya Awards, Spain's premier film honors. These included Best Original Score for Simon Boswell's atmospheric composition blending rock and ethnic elements, and Best Costume Design for María Estela Fernández and Glenn Ralston's evocative period attire that enhanced the film's gritty, supernatural tone.[47]

Gramado Film Festival (1998)

At the Gramado Film Festival in Brazil, Perdita Durango was nominated for the Golden Kikito in the Best Film category, highlighting its bold narrative and direction by Álex de la Iglesia in the international competition.[46]

Film Critics Circle of Australia Awards (2001)

The film garnered a nomination for Best Foreign Film at the Film Critics Circle of Australia Awards, acknowledging its distinctive blend of crime, horror, and cultural elements as a standout non-Australian release.[46]

References

  1. Perdita Durango (1997) - IMDb
  2. https://www.publishersweekly.com/9780679401490
  3. Perdita Durango | Rotten Tomatoes
  4. 59 Degrees and Raining by Barry Gifford - Goodreads
  5. Perdita Durango (Gifford, Barry) - Amazon.com
  6. Perdita Durango (Gifford, Barry) - Goodreads
  7. https://www.sevenstories.com/books/4149-sailor-amp-lula-expanded-edition
  8. Sailor and Lula: The Complete Novels - Barry Gifford
  9. Barry Gifford Is America's Offbeat Dostoevsky - VICE
  10. Barry Gifford on the History of Noir and Black Lizard Books
  11. https://severinfilms.com/products/perdita-durango-uhd
  12. Perdita Durango (4K UHD Review) - The Digital Bits
  13. Perdita Durango - Variety
  14. Perdita Durango (1997): the body, sex and Mexico | Request PDF
  15. REDISCOVERING MEXICO - Variety
  16. Perdita Durango (1997) - Moria Reviews
  17. Perdita Durango (1997) - Filming & production - IMDb
  18. Perdita Durango: A Case Study - Senses of Cinema
  19. Perdita Durango (1997) - Technical specifications - IMDb
  20. Perdita Durango (1997) Technical Specifications - ShotOnWhat
  21. Parents guide - Perdita Durango (1997) - IMDb
  22. Perdita Durango (1997) - Plot - IMDb
  23. 'Perdita Durango': Supernatural Occurrences And Mexican Faith
  24. Perdita Durango - Blu-ray News and Reviews | High Def Digest
  25. Alternate versions - Perdita Durango (1997) - IMDb
  26. Dance with the Devil (Comparison: Spanish / German Version
  27. Perdita Durango (Dance with the Devil) - Reeling Reviews
  28. 'Perdita' in San Sebastian lineup - Variety
  29. Perdita Durango (1997) - Release info - IMDb
  30. Perdita Durango (1997) - Turner Classic Movies - TCM
  31. Perdita Durango (1997): the body, sex and Mexico | Oxford Academic
  32. Perdita Durango (1997) movie posters - MoviePosterDB
  33. Dance with the Devil (1997) - Alternative Titles - TMDB
  34. Perdita Durango 4K Blu-ray (Dance with the Devil)
  35. Dance with the Devil (Comparison: R-Rated - Uncut)
  36. Perdita Durango - BBFC
  37. Dance with the Devil (Comparison: BBFC 18 VHS - German DVD)
  38. Perdita Durango (Dance with the Devil) (4K Ultra HD) - DVD Talk
  39. PERDITA DURANGO (1997) Reviews and Severin Films 4K UHD ...
  40. Películas españolas más taquilleras de todos los tiempos
  41. Movies Released in 1997 - The Numbers
  42. https://www.boxofficemojo.com/year/1997/
  43. Reestreno de El día de la bestia - Cineycine
  44. Perdita Durango (1997) - Box Office and Financial Information
  45. Dance With The Devil (Perdita Durango) (1997) - Filmaffinity
  46. Awards 1997 - European Film Academy
  47. Awards - Perdita Durango (1997) - IMDb
  48. Perdita Durango » Premios Goya 2025
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