The Serie Griselda, from Netflix, is a journey through several stories at the same time. On the one hand, the life and worst crimes of the titular protagonist, known as the most dangerous woman in Colombia between the 1970s and 1980s. On the other, the way in which Medellín and the North American city of Miami became distribution centers and scenes of interest for organized cinema. Between both things, the plot shows the dark side of power, without losing sight of the way in which Griselda Blanco (played by Sofía Vergara) is a symbol of the dark side of modern ambition. The result is a mix between a violent premise and also the cultural exploration of the greed of an era.
Of course, it is not the first time that such a combination results in great films with an ambiguous and uncomfortable background. In 1967, Arthur Penn directed Bonnie and Clyde and turned it into a more or less twisted look at America and its ideals of triumph. The film became a success and laid the foundations for a subgenre, which became more popular as time went by. From moralistic fables to stories that explore the moral darkness of delinquents and criminals of all types. Hollywood’s curiosity about the dark side of human behavior, has given him several of his most recognized and mature films.
We leave you five movies if this genre is your favorite or just yes, you enjoyed Griselda and you want to find more similar content. From a murderer in search of redemption to a violent criminal whose story is a reflection on ethics and fear. The selection ranges from fiction to real stories. All, from a novel and well-constructed point of view.
David Fincher returned to take a place behind the cameras, to bring a twisted vision about the sense of purpose to the cinema. The comic adaptation Le Tueur by writer Matz and artist Luc Jacamon is cold, elegant and tense. The result is a careful and visually neat dissection of the mind of a criminal, who dedicates all of his energy and will to being the best at his macabre occupation. But he is also capable of reflecting philosophically about time, life and death.
But this is a criminal film and Fincher dedicates a good amount of time and effort to showing the world of a mercenary sniper. Michael Fassbender is the anonymous figure who walks between cities trying to be invisible. That, while he evaluates the methods of murder and which is the most suitable to show his talent.
The film, with a sober and slow tone, is not as violent or bloody as Fincher fans might assume. Even so, it is an example of how the director delves into contemporary evil and the nihilistic perspective of his character. Which makes the film a rare reflection on desire.
The Boston Strangler
Director Matt Ruskin took the true story of the murderer who devastated the city of Boston and turned it into a sober thriller that meditates on violence. Not only the physics that the criminal wields against his victims, but that of the culture, which ignored obvious signs about a serial criminal. Much more, one that operated in a specific area and even with an obvious method. That, despite the fact that journalist Loretta McLaughlin (Keira Knightley) dedicated years of investigation and effort to find the culprit.
The film shows the writer’s struggle to prove her theory of a single killer, who attacked women of all ages in the city area. At the same time, the way in which the violence and cruelty of the murders became a point of debate for the police, investigators and coroners. Little by little, Loretta managed not only to gather enough evidence, but also to show the weaknesses of the authorities’ actions.
Between both things, the argument makes it clear that aggression and cruelty can become social evils, being ignored or, in the worst case, normalized. For its harsh ending, the film shows the journey to obtain justice. Which was not achieved completely.
The price of power
This early work by Brian De Palma, featuring a very young Al Pacino, is a careful exploration of greed turned criminal. What begins as the story of a small-time criminal quickly transforms into a journey into moral darkness. Tony Montana (Pacino) will become not only a feared drug trafficker who will shake the American criminal underworld. At the same time, it will demonstrate the corruption of political and legal power at its harshest extremes.
The film, a cinema classic that delves into the criminal world, is at the same time a journey through the dark and more sinister side of the so-called North American Dream. Tony will achieve a type of wealth that he had only dreamed of, but at the cost of being persecuted and then turned into a monster. The director extrapolated the story of the criminal who ends up being defeated by his own weapons, to create a decadent and twisted scenario.
For its final stretch, Tony will be the victim of the fall of his empire. But much more, the reliable demonstration of a type of greed that borders on depravity. The most disturbing and best achieved side of the film.
It is evident that director David Fincher has a predilection for the stories surrounding the murderers. And in the case of the movie Zodiac, that obsession with twisted stories that defy any immediate explanation is more evident than ever. Based on the book of the same name by Robert Graysmith, it is a journey through cultural fear and collective paranoia. The plot tells of the efforts of the San Francisco police to discover the identity of the killer that thrived around the bay in the late 1960s and early 1960s.
The plot explores the efforts of the police, journalists and forensic experts to discover the identity of the criminal or, in the worst case, arrest him. Specifically, when it became more violent and daring. Becoming a kind of infamous myth, the stranger sent letters to officials and newspaper editorial offices. The letters contained encrypted messages that challenged experts for years. Most still remain unresolved.
In the same way as the case on which it is based, the film has an ambiguous ending. The murderer, who was baptized Zodiac, disappeared in the same abrupt way in which he appeared. Which makes it clear that the law does not always reach the guilty and that when he does, it may be too late for true justice.
Sinister, bloody and depraved, Danish Lars von Trier’s version of a serial killer is perhaps one of the most realistic in cinema. Also, the one that links, with greater elegance and intelligence, violence with the culture and context that surrounds the criminal.
The result is a film that tells the story about a murderer, but at the same time, analyzes the transformations of the country in which he was born. Little by little, Jack — played by a Matt Dillon very far from his usual roles — discovers that killing is one of fierce individuality and vanity. Or at least, it is his perception of the increasing number of deaths around him.
The director takes an arduous path towards the very center of what makes a murderer one. In other words: the manic and aggressive personality that distances itself from any social and legal order. For its traumatic ending, the film fulfilled its purpose. Scandalize and at the same time, elaborate a complicated idea about contemporary drives about desire and hate.