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Introducción: La crisis económica y financiera de 2008 ha sido un tema argumental recurrente en numerosos productos culturales contemporáneos, tales como ensayos, novelas, cómics, trabajos fotográficos, films documentales, películas de ficción, series de televisión, webdocumentales, videojuegos, etc., bien para analizar las causas de este fenómeno o sus consecuencias en la actualidad. Objetivos: Se analizan once films documentales y de ficción, encuadrables en el cine mainstream o hegemónico, esto es, producidos y/o distribuidos en el contexto de la potente industria hollywoodiense, que abordan los orígenes y consecuencias de la crisis de 2008, cuyos efectos se siguen sintiendo con crudeza en la actualidad. Metodología: El estudio de los films parte de los postulados de la teoría de la imagen de William J. T. Mitchell (1986, 1994, 2005), a través del análisis de las condiciones de producción y recepción, de los recursos expresivos y narrativos, así como de las estrategias de enunciación discursivas de las películas seleccionadas (Zunzunegui, 1989; Carmona, 1991; González Requena, 1995). Resultados y conclusiones: El análisis de los films estudiados permite constatar que muchas de estas películas, de gran difusión internacional, más que contribuir a una crítica en profundidad del sistema económico, político, social o cultural vigente, parecen legitimar el modelo económico neoliberal hegemónico, poniendo el acento en la dimensión más sensorial y emocional de la recepción y consumo de imágenes, en la lógica de la sociedad del espectáculo en la que vivimos (Debord, 2002). Introduction: The economic and financial crisis of 2008 has been a recurring theme in many contemporary cultural products, such as essays, novels, comics, photographic works, documentary films, fiction films, television series, web documentaries, video games, etc., in order to analyze the causes and consequences of this phenomenon. Objectives: Twelve documentary and fiction films are analyzed, framed in mainstream or hegemonic films, i. e., produced and / or distributed in the context of the powerful Hollywood industry, which address the origins and consequences of the 2008 crisis, whose effects they are still feeling raw today. Methodology: The study of the films starts from the postulates of picture theory by William J. T. Mitchell (1986, 1994, 2005), through the analysis of production and reception conditions, on expressive and narrative ressources, as well as on discursive enunciation strategies of selected films (Zunzunegui, 1989, Carmona, 1001; González Requena, 1995). Results and conclusions: The analysis of the studied films shows that many of these films, with a great international diffusion, rather than contributing to an in-depth critique of the current economic, political, social or cultural system, seem to legitimize the hegemonic neoliberal economic model, putting the accent on the most sensory and emotional dimension of the reception and consumption of images, in the logic of the society of spectacle where we live (Debord, 2002). [ABSTRACT FROM AUTHOR]