National security discourses have profoundly permeated the film industry in the United States for decades. Through direct and indirect intervention in major film productions, US security institutions (including the Pentagon, DEA, CIA, and FBI) have pushed for what Matthew Alford and Tom Secker call “national security cinema,” with hundreds of films complacent with a transnational militarist agenda promoting state violence in the global south. For this presentation I will analyze the films Sicario (Denis Villeneuve, 2015) and Emilia Pérez (Jacques Audiard, 2024) as symptomatic not only of securitarian propaganda criminalizing racialized populations but also erasing the devasting effects of the US-backed militarized antidrug policy in Mexico. I will ultimately consider the normalization of the militarization and its technopolitical surveillance culture (following the work of scholars Camilla Fojas, Huub Dijstelbloem, and Iván Chaar López) through the “drug wars” narrative at the US-Mexico border region.

Oswaldo Zavala is Professor of contemporary Latin American literature and culture at the College of Staten Island and at the Graduate Center of the City University of New York (CUNY). He is the author of La modernidad insufrible. Roberto Bolaño en los límites de la literatura latinoamericana contemporánea (2015), Volver a la modernidad. Genealogías de la literatura mexicana de fin de siglo (2017), Drug Cartels Do Not Exist. Narcotrafficking in US and Mexican Culture (2018), and La guerra en las palabras. Una historia intelectual del “narco” (1975-2020) (2022). He co-edited, with Viviane Mahieux, Tierras de nadie: el norte en la narrativa mexicana contemporánea (2012); with José Ramón Ruisánchez, Materias dispuestas: Juan Villoro ante la crítica (2011); and with Magdalena Perkowska, Tiranas ficciones. Poética y política de la escritura en la obra de Horacio Castellanos Moya (2018). He has published more than fifty articles on contemporary Latin American narrative, the U.S.-Mexico border, and the link between violence, culture and late capitalism.