In the late 1990s and early 2000s Latin American films like Amores perros, Y tu mam tambi n and Cidade de Deus enjoyed an unprecedented level of critical and commercial success in the world market. Benefitting from external financial and/or creative input, these films were considered examples of transnational cinema. Through a textual analysis of six filmmakers (Alejandro Gonz lez I rritu, Alfonso Cuar n, Guillermo del Toro, Fernando...