stray dogs

José Antonio de la Loma (1979)

With him (and with permission from Los golfos , from Saura) everything began. The industries and wanderings of Torete (Ángel Fernández Franco) deserved a clean trilogy of scruples and pudores.

navajeros

Eloy of the Church (1980)

With one foot in the real biography of José Joaquín Sánchez Frutos, El Jaro , De la Iglesia strives to build and articulate a reflection on juvenile delinquency, its causes, its problems and its drugs.

fast quickly

Carlos Saura (1981)

Also prestigious filmmakers approached what was already a phenomenon. Before Saura, Gutiérrez Aragón made his own incursion with Maravillas . And then Montxo Armendáriz would do the same with 27 hours.

peak

Eloy of the Church (1983)

Endeavored to expand, annoy and give talk, De la Iglesia offers an explosive cocktail of drugs, ETA, civil guard and political corruption. Homoerotic sex came before the hand of The Deputy (1978). With La estanquera de Vallecas , the director closed his extraradio cycle.

street bitches

José Antonio de la Loma (1985)

The same year that I, the Vaquilla, De la Loma, offers women the possibility of action. The cross between fiction and reality from the hand of the crude martyrology of Sonia Martínez hurts.

the lute: walk or burst

Vicente Aranda (1987)

Aranda turns the greatest of the myths of the latest Franco into catharsis for the citizen of good. The reinsertion of the quinqui in democracy wants to be the opposite of all the above (and even refutation of the same Francoism).

7 virgins

Alberto Rodríguez (2005)

Of the latest reads of the quinqui cinema, this, along with Barrio , by Fernando León de Aranoa, and In exchange for nothing , by Daniel Guzmán, offer a new poetic to the always harsh rules of the genre.

Raising rats

Carlos Salgado (2016)

The Christ joins the gallery of tragic heroes of the genre since the wounds of the financial crisis of 2008. It is not touch an update like the harsh and crude confirmation of the eternal return of the same.

quinqui stars

Juan Vicente Córdoba (2018)

The last example is both vindication, homage and criticism. From the hand of a story within a story, the director of Entrevías and his partner Coleta converts memory into own flesh in timeshare.

According to the criteria of The Trust Project

Know more