Death of a Subaltern: Melodrama, Class and Victimhood in <i>Muerte de un ciclista</i> (Juan Antonio Bardem, 1955) and <i>La mujer sin cabeza</i> (Lucrecia Martel, 2008)

This article provides a comparative analysis of Muerte de un ciclista (dir. Juan Antonio Bardem, 1955) and La mujer sin cabeza Lucrecia Martel, 2008). It argues that both films use the hit-and-run motif to address class difference, but also reflect on key historical events such as Spanish Civil War desaparecidos during last military dictatorship in Argentina. The analyses how adopt rework conventions melodrama produce critique bourgeoisie from within. Finally, it contends each film negotiates differently its affiliation melodramatic mode.