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Like my own, Iñárritu’s metaphors are heavy-handed at times and not wholly original, though through utter conviction he manages on the whole to make them resonate. If misfortune clamps down with steel teeth, escape may require chewing off a foot. Rather, Amores Perros concerns itself with the everyday navigation of life’s traps, those which lay in wait with jaws poised to irrevocably alter our false sense of security in one fateful instant. His depiction of the urban jungle is not about hip gunplay and even hipper wordplay, and he lingers on shots of charred bullet entry holes in a decidedly un-sexy manner. The frantic pace, skewed time structure and plenteous blood-letting will invite misleading comparisons to Tarantino, the grave distinction being that Iñárritu does not go in for stylized violence. Recently released from prison, he attends to a pack of stray dogs and works reluctantly as a hired killer for the same cop who put him away. Rounding out the triptych is El Chivo (Emilio Echevarria), an older street person and former communist guerrilla who left his own family long ago. Furthering their torment, Valeria’s precious pooch becomes trapped beneath the floorboards of their apartment.
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Across town but a world away, wealthy middle-aged executive Daniel (Alvaro Guerrero) deserts his family for supermodel Valeria (Goya Toledo), only to have her looks and career shattered in a sudden accident (the aforementioned car crash). In a desperate attempt to rescue her and flee oppressive barrio life, Octavio offers up his rottweiler to the barbarous world of back alley dogfights. Octavio (Gael Garcia Bernal) is an audacious, soulful young man who carries a torch for his battered sister-in-law Susana (Vanessa Bauche). It’s Magnolia south of the border, with a grimly realistic car crash taking the place of biblical plague as denouement. First-time feature director Alejandro González Iñárritu delivers a sobering, epochal meditation on the dog-eat-dog modern world, vis-à-vis a trendy intersecting narrative set amidst the luxury and squalor that uncomfortably rub shoulders in the world’s most crowded city. Learning of the betrayal, Octavio is outraged and is forced to scramble together his remaining money to fund the bet of the final fight.( Love’s A Bitch, Alejandro González Iñárritu, 2000)įrom its gripping opening sequence, a frenetic car chase through an apocalyptic Mexico City, to its final image of man and dog setting off into a vast and empty landscape, Amores Perros strikes like a bullet in the gut – wincing pain giving way to prolonged, dreadful suffering and, a great deal of blood later, finally reaching a surprisingly serene end. This shows that working class life in Mexico City often produces in people aims which will only exacerbate their situation. This choice backfires on Octavio, as Susana is now compelled to flee with her husband, taking with her all the money Octavio and Cofi had won. Octavio descends to his lowest point, though, when at the same meeting where he agrees to this final fight, he contracts with the ringleader of the dogfights to assault his brother, who, as a result, is nearly beaten to death. After succeeding wildly through a number of dogfights, Octavio has earned enough money to convince Susana that they can run away together, but he gets greedy and agrees to only last, high-stakes fight against a dog owned by the local gang leader, who has been Octavio’s constant nemesis and antagonist. It comes as no surprise to the viewer, then, that these constraints placed upon him by the particular urban environment in which he lives lead to his downfall. …show more content… Having no reason to hope for the fruitfulness of any long term goals or aspirations, Octavio’s immediate environment has shunt him off into a fixation upon what is immediately attainable-pursuing his brother’s wife and chasing the money and increased social standing that comes with fighting his dog. But it is more than exceptional filmmaking that is responsible for the critical success of this film. Mexican Academy of Film and the Critics Week Grand Prize at the Cannes Film Festival. It is perhaps no surprise then that this pairing, of inspired passion and experienced creativity, resulted in a film that won 52 of the 69 total awards for which it was nominated world-wide, including the Ariel Award for Best Picture from the The Urban Environment of Mexico City, As Presented in AmoresĪmores Perros represents the feature film directorial debut of Alejandro González Iñárritu and was written by Guillermo Arriaga, the craftsman behind such acclained Hollywood successes as 21 Grams and Babel.