Abstract
This article argues that contemporary Spanish crime film and television has adapted to an economic crisis and has embraced a transnational crime film and television ‘realism’, introspection and pathos that reconciles commercial success with the cultural need to address Spain’s recent history. El niño/The Kid (Monzón, 2014), La isla mínima/Marshland (Rodríguez, 2014), El Príncipe/The Prince (Telecinco, 2014–16) and Mar de plástico/Sea of Plastic (Antena 3, 2015–16) represent an attempt to reach out to audiences by gaining international recognition for Spanish audio-visual productions and honouring local issues and spaces. Their diverse configurations point to the country’s ambiguity about its historical legacy and suggest the emergence of a new, gentler version of Spanish nationalism.
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