There are clear parallels that can be drawn between Italian Neo-realism and recent films coming out of Latin America that are using a neo-realist approach. The necessary social characteristics for neo-realist filmmaking to emerge are evident in Latin America. There is a definite socio-economic context in which a large percentage of the population is impoverished and the stories of the working classes are rarely told by the dominant media channels. In the last decade there has been a significant political shift to the left in favor of increased social change. At the same time, while technological developments have made cameras and editing equipment more accessible than ever before, a lack of funds for filmmaking continues to push innovation and foster a documentary style of filmmaking that is rougher around the edges.
For a selection of the top films to come out of Latin America in the last several years that use elements of neorealism, all of which have won significant awards and screened widely both nationally and internationally, check out: City of God (2003, Brazil), Carandiru (2003, Brazil/Argentina), The Motorcycle Diaries, (2004, Argentina, et al), and Sin Nombre (2009, United States / Mexico). Each of these films uses a carefully crafted fiction script highlighting the plight of the marginalized, working class, and at the same time creates an atmosphere of authenticity by shooting on location, using primarily non-professional actors and especially children actors, and using a documentary style cinematography that is rougher around the edges and makes use of available light.
A US filmmaker to watch who is uses a neorealist style is Ramin Bahrani: Goodbye Solo (2008) Chop Shop (2007), Man Push Cart (2005)
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