In the last decades, studies on documentary cinema have emphasized the progressive blurring of borders with fiction works and characterized such productions as hybrid objects. Even though the borders between the two domains were never as rigid as it is often pointed out, it is true that a high degree of stylization has become a constant feature in contemporary documentary film. This article analyzes a number of Latin American documentaries produced in the last two decades by taking into account the dialogue the films establish with different cinematographic genres: horror cinema, road movie and film noir. The appropriation of narrative structures, procedures and iconographies of the different genres provides documentaries with a series of key tools for the articulation of personal and collective stories.
Documentary film, film genres, hybridization, Latin America, intertext.