The film is far more interested in conversations and self-reflection propelling the story. There are sequences of action, that’s undisputable. Don’t, however, mistake the opening to suggest what you’re about to experience is in any way action packed. Rather, the story is just what the opening implies, a wild explosive ride. The thing is, nothing about Amores perros implies that either the director or the story is at all sympathetic to these men or that the audience should in any way feel that way. It’s certainly not as polarizing as 2020’s Promising Young Woman in its treatment of women, but there’s unquestionably a toxic undertone that runs throughout.
Each story is a tale of love (requited, unrequited, familial, affectionate, obsessive, young, old, trans-species) that is, at its core, deeply problematic and disquieting to the point that none of the males within their respective narrative threads are heroes and the women are just barely more than property. That fact that 20 years later, the film feels just as jarring, just as uncomfortable, and just as fantastic, speaks to Iñárritu’s gift as a storyteller and his recognizing that while the events happen at a specific moment in time locked by technology and politics, they are timeless. By not providing countless details and explanations, Iñárritu’s stories feels alive, less of a story caught on celluloid and more a breathing thing that the audience catches up with at specific moments in time. Though it does introduce the other characters, no direct connection or explanation is presented until the start of that particular thread. Via three narrative threads titled “Octavio and Susana,” “Daniel and Valeria,” and “El Chivo and Maru,” the film moves through time differently as it makes sure to focus primarily on that segment’s subjects, jumping backward at the start of each segment, but not necessarily having each catch back up by the end. Iñárritu’s AMORES PERROS.Īfter a brief title sequence, Iñárritu’s Amores perros, explosive from the start, opens with a car chase through the streets of Mexico City involving multiple near-misses that ends in a crash which serves as the focal point for all the stories.
L-R: Álvaro Guerrero as Daniel and Goya Toledo as Valeria in Alejandro G. If you loved the film in its initial release, are a Criterion completionist, or are just looking to delve deeper into Iñárritu’s bold-stroke debut, look for it as of December 15 th, 2020. Joining the Criterion Collection as #1060, Amores perros is given the full-treatment for its upcoming release: a 4K restoration, new audio tracks, newly recorded bonus materials, essays, and more. Home › Recommendation › Films To Watch › Explore Alejandro Iñárritu’s first feature film, “Amores perros,” in a brand-new way thanks to its addition to the Criterion Collection.Įxplore Alejandro Iñárritu’s first feature film, “Amores perros,” in a brand-new way thanks to its addition to the Criterion Collection.īy Douglas Davidson on Decemīefore The Revenant (2017), before Birdman or (The Unexpected Virtue of Ignorance) (2014), before Biutiful (2010), and before 21 Grams (2003), writer/director Alejandro Iñárritu made his feature debut with 2000’s hard-hitting Amores perros, a title translated to English as “Love’s a Bitch.” Iñárritu wove together three disparate stories centered-around love which examined the often soft emotion as something hard, chilling, and, at times, brutal.
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