Series Griselda, from Netflix is a journey through several stories at once. On the one hand, the life and most terrible crimes of the main character, known as the most dangerous woman in Colombia of the 1970s and 1980s. On the other hand, the way Medellin and the North American city of Miami became distribution centers and objects of attention for organized cinema. Meanwhile, the plot shows the dark side of power, without losing sight of how Griselda Blanco (played by Sofia Vergara) is a symbol of the dark side of modern ambition. The result is a mixture of a premise of violence and a cultural exploration of the era’s greed.
Of course, this isn’t the first time this combination has produced great films with ambiguous and uncomfortable backgrounds. In 1967, Arthur Penn directed Bonnie and Clyde, turning it into a more or less twisted look at America and its ideals of triumph. The film was a success and laid the foundations for a subgenre that became increasingly popular over time. From moralistic fables to stories that expose the moral darkness of lawbreakers and criminals of all stripes. Hollywood’s curiosity about the dark side of human behavior gave him some of his most acclaimed and mature films.
We’ll leave you with five films if this genre is your thing or just yes, you liked it. Griselda and you want to find more similar content. From a murderer seeking redemption to a brutal criminal whose story is a meditation on ethics and fear. The selection ranges from fiction to true stories. And all this from a new and well thought out point of view.
Murderer
David Fincher returned to take over behind the cameras to bring a twisted sense of purpose to cinema. Comic adaptation Le Teur the works of writer Matz and artist Luc Jacamon are cool, elegant and intense. The result is a meticulous and visually precise dissection of the mind of a criminal who devotes all his energy and will to becoming the best at his grim task. But he is also able to think philosophically about time, life and death.
But this is a crime film, and Fincher devotes a lot of time and effort to show the world of a hired sniper. Michael Fassbender is an anonymous character who walks between cities, trying to be invisible. This is while he evaluates methods of killing and which ones are most suitable for displaying his talent.
The film, which has a sober and slow tone, is not as violent and bloody as Fincher fans might assume. However, this is an example of the director delving into modern evil and a nihilistic take on his character. Which makes the film a rare meditation on desire.
Boston Strangler
Director Matt Raskin takes the true story of a killer who devastated Boston and turns it into a sober thriller that contemplates violence. Not only the physics that the criminal uses against his victims, but also the culture that ignored the obvious signs of a serial criminal. Much more so is the one that acted in a specific area and even in an obvious way. This is despite the fact that journalist Loretta McLaughlin (Keira Knightley) has dedicated years of investigation and efforts to find the culprit.
The film depicts the writer’s struggle to prove her theory about one killer who attacked women of all ages in the city area. At the same time, the violence and brutality of the killings became a point of contention for police, investigators and coroners. Little by little, Loretta managed not only to collect enough evidence, but also to show the weakness of the authorities.
Meanwhile, this argument clearly shows that aggression and cruelty can become social evils if ignored or, at worst, normalized. Despite the harsh ending, the film shows the path to justice. What we have not been able to achieve fully.
The price of power
This early work by Brian De Palma, starring a very young Al Pacino, is a thorough study of greed gone criminal. What begins as the story of a petty criminal quickly turns into a journey into moral darkness. Tony Montana (Pacino) will become more than just a feared drug dealer who will shake up the American underworld. At the same time, it will demonstrate the corruption of political and legal power in its most extreme manifestations.
This film, a cinematic classic that delves into the underworld, is also a journey through the dark and sinister side of the so-called North American Dream. Tony will achieve the kind of wealth he only dreamed of, but at the cost of being persecuted and then turned into a monster. The director extrapolated the story of a criminal who is ultimately defeated by his own gun to create a decadent and twisted scenario.
At the last stage, Tony will become a victim of the fall of his empire. But more than that, it is a credible demonstration of greed bordering on depravity. The most disturbing and best part of the film.
Zodiac
It’s obvious that director David Fincher loves stories about killers. And in the case of Zodiac, this obsession with intricate 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 about the attempts of the San Francisco police to find out the identity of the criminal. killer who flourished in the Bay Area in the late 1960s and early 1960s.
The plot explores the efforts of police, journalists and forensic experts to uncover the identity of the criminal or, in the worst case, arrest him. In particular, when it became more cruel and daring. Having become a kind of shameful myth, the stranger sent letters to officials and newspaper editors. The letters contained encrypted messages that have defied experts for years. Most of them still remain unresolved.
Like the case on which it is based, the film has an ambiguous ending. The killer, named Zodiac, disappeared as suddenly as he appeared. From this it becomes clear that the law does not always reach guilty, and that when he does, it may be too late for true justice.
Jack’s house
Danish Lars von Trier’s sinister, bloody and depraved version of serial killer is perhaps one of the most realistic in cinema. Also one that connects violence with greater elegance and intelligence to the culture and context surrounding the perpetrator.
The result is a film that tells the story of a killer, but at the same time examines the transformation of the country in which he was born. Little by little, Jack, played by Matt Dillon, a far cry from his usual roles, discovers that murder is an expression of fierce personality and vanity. Or at least that is his perception of the growing number of deaths around him.
The director takes the hard route to the very center of what makes a killer. In other words: a manic and aggressive personality, distancing itself from any social and legal order. Despite the traumatic ending, the film served its purpose. Scandal and at the same time develop a complex idea about modern drives of desire and hatred.
Source: Hiper Textual
