As of this writing, Las Oscuras Primaveras holds a 6.8/10 on IMDB based on 2.4K user ratings. While not an astronomical score, the distribution of votes is a perfect "C" curve (many 10s and many 1s), indicating a polarizing work.
The Positive View (The Cinephile’s Take)
Critics have compared Contreras to Carlos Reygadas (Post Tenebras Lux). They praise the film’s honesty about inter-generational trauma. A review from Cine Sin Fin states: "Las Oscuras Primaveras does not offer catharsis; it offers a wound that breathes. The final scene is the bravest depiction of sibling complicity since Hirokazu Kore-eda’s Shoplifters." Fans argue that the slow pace is essential; you are not watching a plot unfold, you are experiencing a mood. las oscuras primaveras 2014 imdb exclusive
The Negative View (The General Audience)
The one-star reviews on IMDB are savage. User MovieDude88 writes: "Nothing happens. Two ugly people drive around, then cry in a basement. I waited 90 minutes for a twist and got a metaphor. 1/10." Another common complaint is the "pretentious" dialogue. Some viewers find the non-linear editing confusing rather than artistic. The film demands active viewing; if you look at your phone for 30 seconds, you can lose the thread of which timeline you are in. As of this writing, Las Oscuras Primaveras holds a 6
Title: Las Oscuras Primaveras (English: The Dark Springs)
Year: 2014
Country: Mexico
Director: Ernesto Contreras
Genre: Drama / Romance / LGBTQ+ The Negative View (The General Audience) The one-star
One of the film’s most striking features, often highlighted in retrospective reviews on platforms like IMDb, is its cinematography. Contreras utilizes a desaturated color palette, washing the screen in grays and muted earth tones that mirror Flavia’s internal state. The camera lingers on empty rooms, dusty corners, and the cold geography of the city, making the setting feel like a character in itself.
This visual approach creates an intimacy that is almost uncomfortable. The viewer is forced to sit with Flavia’s boredom and her desperate, clumsy attempts at connection. It is a brave performance by Infante, who sheds vanity to portray the fragility of a woman grasping for one last chance at vitality.