Cover -- Title -- Copyright -- Dedication -- Contents -- List of figures -- Acknowledgments -- 1 General Introduction -- PART I The Documentaries -- 2 The Construction of Dissensus in En Construcción (Jose Luís Guerín, 2001) -- 2.1 Introduction -- 2.2 The Cinematic Construction of Dissensus -- 2.3 The Democratics of Space and Time -- 2.4 Migrant Identities and Contrasted Masculinities -- 2.5 Conclusion -- 3 Female Migration and Multiculturalism in Extranjeras (Helena Taberna, 2003) -- 3.1 Introduction -- 3.2 Multiculturalism Within the Spanish Context -- 3.3 Dissensus -- 3.4 Consensus -- 3.5 Conclusion -- 4 Madrid From the Other Side in El otro lado . . .un acercamiento a Lavapiés (Basel Ramsis, 2002) -- 4.1 Introduction -- 4.2 Formal Devices and Authorial Voice -- 4.3 The Biblical Intertext -- 4.4 Spatial Contestation -- 4.5 The Use of Music -- 4.6 Conclusion -- PART II The Fiction Films -- 5 Female Migrant Identities, Rural Space, and Consensus in Flores de otro mundo (Iciar Bollaín, 1999) -- 5.1 Introduction -- 5.2 Flores de otro mundo as a Melodrama -- 5.3 Plot Influences and Contextualization of Flores de otro mundo -- 5.4 The Rural as a Site for Spatial Contestation -- 5.5 Restoration of the Patriarchal Order -- 5.6 Exoticization and Sexualization of the Caribbean Migrants -- 5.7 Conclusion -- 6 Morocco, Spain, and the Ethical Turn in Retorno a Hansala (Chus Gutiérrez, 2008) -- 6.1 Introduction -- 6.2 Retorno a Hansala, Plot and Contextualization -- 6.3 Return to Hansala and the Road Movie -- 6.4 The 'Bare Life' of the African Migrant -- 6.5 Conclusion -- 7 Barcelona, the Precariat, and Post-Migration Cinema in Biutiful (Alejandro González Iñarritu, 2010) -- 7.1 Introduction -- 7.2 The Precariat -- 7.3 Urban Landscape and Working Class Heritage -- 7.4 Nature, Religion, and Uxbal's Experience in the City -- 7.5 Gender and Ethnicity