Post-crash cinema includes a few notable efforts to get to the root of the latest crisis of capitalism by exploring its human dimensions. Given its status as an abstract logic, ontological principle, or centerless system, global capitalism’s fundamental unrepresentability requires a framework that can provide some measure of proportion. Perhaps the most familiar method of introducing this necessary scale is to focus on characters caught up in the machinations of profit and exchange. Unfortunately, such a tactic usually results in a narrative which reiterates the thesis that our problems stem not from structure but from individual malfeasance– thus granting capital a false alibi. The gambit of post-crash films is to explore that which is inhuman by attending to the human and in doing so to effectively cede the possibility of showing capital in its totality.