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Quinqui (film genre)

{{Short description|Spanish film genre}}

{{Use dmy dates|date=February 2020}}

Cine quinqui or cine kinki (meaning "delinquency cinema") is a Spanish exploitation{{Cite journal|url=https://revistes.ub.edu/index.php/filmhistoria/article/download/28319/29057|page=114|title=Cine quinqui. La pobreza como espectáculo de masas|first=Jorge|last=Castelló Segarra|journal=Filmhistoria Online|volume=28|issue=1–2|year=2018|issn=2014-668X|publisher=Universitat de Barcelona|location=Barcelona}} film genre that was most popular at the end of the 1970s and in the 1980s.{{Cite news|url=https://elpais.com/elpais/2019/02/06/icon/1549449208_098050.html|title=Historia negra del cine quinqui: la reivindicación de un género que no dejó supervivientes|last=Alonso|first=Guillermo|date=11 February 2019|work=El País|access-date=3 February 2020|language=es}}

Features

The films were centered around underclass delinquents, drugs, and love, and usually starred non-professional actors picked off the street. The most representative directors of the genre are {{ill|José Antonio de la Loma|es}} and Eloy de la Iglesia, even if other directors such as Carlos Saura, Manuel Gutiérrez Aragón and Vicente Aranda also reproduced the quinqui social imaginaries in some of their films.{{Cite journal|page=61|title=Cine quinqui e imaginarios sociales. Cuerpo e identidades de género|trans-title=Quinqui cinema and social imaginaries. Body and gender identities|url=https://revistas.ucm.es/index.php/ARAB/article/view/48937/47270/|publisher=Ediciones Complutense|location=Madrid|doi=10.5209/rev_ARAB.2015.v15.n3.48937|first=Gérard|last=Imbert|journal=Área Abierta|volume=15|issue=3|year=2015|doi-access=free|hdl=10016/28606|hdl-access=free}}

Quinqui films focused on marginalized working-class adolescents in the outskirts of Spanish cities involved in small-scale robbery and street crime.{{Cite web|url=https://cinemania.20minutos.es/noticias/heroina-y-cronica-negra-guia-basica-del-cine-quinqui/|title=Heroína y crónica negra: guía básica del cine quinqui|last=Moral|first=Pedro|date=4 January 2019|website=Cinemanía|publisher=20 minutos|language=es-ES|archive-url=|archive-date=|access-date=3 February 2020}} They showed raw violence, explicit sex, police brutality, and commonly depicted heroin use.

The genre draws inspiration from Italian neorealism and the French New Wave. Several of the stars of quinqui cinema would go on to die prematurely, most due to heroin use but some of AIDS. Some of them include {{ill|José Luis Manzano (actor)|es|lt=José Luis Manzano}} (prostitute at age 16, died from overdose at age 30), {{ill|José Luis Fernández Eguia|es|lt=El Pirri}} (heroin user at age 14, found dead in a wasteland at age 23),{{Cite web|url=https://www.elcorreo.com/culturas/cine/heroes-caidos-cine-20180418222247-nt.html|website=El Correo|title=Los héroes caídos del cine quinqui|date=18 April 2018|first=Oskar|last=Belategui}} {{ill|Ángel Fernández Franco|es|lt=El Torete}} (died from AIDS, age 31), {{ill|José Antonio Valdelomar|es}} (died from heroin overdose, around age 44),{{Cite web|url=https://www.elperiodico.com/es/ocio-y-cultura/20210212/actores-cine-quinqui-espanol-jose-luis-manzano-el-torete-el-pirri-11515620|website=El Periódico de Catalunya|title=Cinco actores del cine quinqui: de la delincuencia a la gran pantalla|first=Quim|last=Casas|date=12 February 2021}} and Sonia Martínez (heroin consumer, died from AIDS complications at age 30).{{Cite web|url=https://www.epe.es/es/ocio/20240901/triste-caida-desgracia-sonia-martinez-107581063|website=El Periódico de España|date=1 September 2024|first=Álex|last=Ander|publisher=Prensa Ibérica|title=La triste caída en desgracia de Sonia Martínez, la presentadora y actriz que sucumbió a las drogas}}

In terms of its political-ideological leanings, José Luis López Sangüesa distinguishes three types of quinqui films: those representative of a Catholic paternalism (de la Loma's films and Klimovsky's {{ill|¿Y ahora qué, señor fiscal?|es}}), those representative of a Left disenchanted with the Transition (Eloy de la Iglesia's films and to a lesser extent Saura's Deprisa, deprisa and Raúl Peña's Todos me llaman Gato), and a quinqui strand that could be discursively categorized as extreme right-wing or sociological Francoism (embodied by pictures such as Juventud drogada, Chocolate, and La patria del Rata).{{Cite web|url=https://burjcdigital.urjc.es/bitstream/handle/10115/29434/Art%c3%adculo%20Pol%c3%adtica%20y%20cine%20policiaco%20de%20la%20Transici%c3%b3n%20Espa%c3%b1ola.pdf?sequence=1&isAllowed=y|page=90|first=José Luis|last=López Sangüesa|title=Política y cine policíaco de la Transición española|trans-title=Politics and the Police-Themed Cinema of the Spanish Transition|journal=Trípodos|issue=41|location=Barcelona|year=2017|issn=1138-3305}}

Notable films

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Legacy

After the demise of the quinqui trend, some directors have looked back to the quinqui era themes in films such as Makinavaja, el último choriso (1992), {{ill|Semos peligrosos (uséase Makinavaja 2)|es}} (1993), Stories from the Kronen (1995), What You Never Knew (2000), 7 Virgins (2005), My Quick Way Out (2006), {{ill|El mundo es nuestro|es}} (2012), {{ill|Criando ratas|es|lt=Criando Ratas}} (2016), Outlaws (2021), or Caged Wings (2023).{{Cite web|url=https://los40.com/2023/08/22/mario-casas-y-oscar-casas-prenden-las-redes-a-golpe-de-cadera-y-bachata-tenemos-una-propuesta-indecente/|website=Los 40|date=22 August 2023|title=Mario Casas y Óscar Casas prenden las redes a golpe de cadera y bachata: "Tenemos una propuesta indecente"|first=Ana|last=Escobar Rivas}}

References

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Category:Cinema of Spain

Category:Film genres

Category:Exploitation films

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