Conclusion

Abstract

The introspective realist crime film highlights the experience and social context of crime through stylized naturalism, documentary aesthetics and complex or peripheral point of view. Generally, it avoids nostalgia by engaging with the realities of its stories while participating in networks of transnational influence that include art cinema, neorealism, Dogme 95 or Slow Cinema. This film trend voices the contemporary dissolution of the social, countered with a view of the subject that represents a new politics built on the private experience of the self. This relation between the self and society resembles the descriptions of contemporary life proposed by sociologists Zygmunt Bauman and Alain Touraine, and indirectly reflects the mood of the social movements that have characterized these first years of the twenty-first century.