Epilogue: Gravity (Alfonso Cuarón 2013), Birdman (Alejandro G. Iñárritu 2014), The Revenant (G. Iñárritu 2015) and Crimson Peak (Guillermo Del Toro 2015)

The Epilogue draws together the major arguments of the book in its focus on art cinema realism and the use and manipulation of genres (the Western, the [space] disaster film, the horror film) in some of the recent films by the transnational auteurs: Cuarón’s Gravity, Iñárritu’s Birdman, and The Revenant and del Toro’s Crimson Peak. It looks at the shifting contexts of their production and settings now situated in the ideological, institutional and industrial complex of Hollywood studio filmmaking and located narratologically for the most part in the Global North or off planet. It explores whether it is possible to think of Gravity, Birdman, The Revenant and Crimson Peak as speaking, in the way the book has argued these directors’ previous films speak, from a position rooted in a peripheral, Global South or Latin American perspective.