[2] The films were centered around underclass delinquents, drugs, and love, and usually starred non-professional actors picked off the street.
[2] The most representative directors of the genre are 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.
[3] Quinqui films focused on marginalized working-class adolescents in the outskirts of Spanish cities involved in small-scale robbery and street crime.
[4] They showed raw violence, explicit sex, police brutality, and commonly depicted heroin use.
[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).