The act of coveting can be selfishly confused for ardent love. The heat of infidelity is not a good precursor for a shift into a more tepid everyday existence of romantic love. Political passion can pummel us into shells. (A note to dog softies: Be warned of copious canine carnage here.) A teenager (Gael García Bernal) pits his dog against others in illegal fighting tournaments to fund an escape with his sister-in-law. A sexy model (Goya Toledo) faces a career-ending injury. Here, the seemingly circumstantial incident connecting several parties is a car accident - an apt appropriation of love as a head-on crash where it’s difficult to assess any damage done until well after the daze wears off.Īn aged vagrant (Emilio Echevarria) laments the family he left behind. The title translates in subtitles to Love’s a Bitch - a cheeky play on the perros (dogs) factoring into each of the plots here even as the pooches prove a perfect metaphor for our fierce, and sometimes blind, loyalty to someone … even as it might lead to our destruction.
La pelicula amores perros full#
Despite its bevy of Oscar nominations, Babelbarely possessed the energy to sit up and wave, and obtuseness obscured Arriaga’s collaboration with director-actor Tommy Lee Jones, The Three Burials of Melquiades Estrada.īut Arriaga and Iñárritu’s narrative collisions of chance, connection and coincidence once leapt off the screen, most ferociously in 2000’s Amores Perros, which has been given a full restorative complement in a recent Criterion Collection Blu-ray edition. Things eventually slow down a bit, but by dint of being the last storyline, it’s also satisfying to see explanations and resolutions to the other stories.It’s difficult to remember a time when the hyperlink structure employed by writer Guillermo Arriaga and director Alejandro González Iñárritu didn’t feel like a gimmick on which they sort of lazily fell back (before, of course, Iñárritu shifted to showy and similarly superficial long takes). There are elements of Tarantino in the way it starts out – from the premise to the style, the action-flick score, and unpreditability and tension. While Octavio is a great character, El Chivo is the one that really sticks in your mind.
It is about a hobo who carries around a machete and is followed by a pack of canines, as he is dogged by his painful past with his daughter Maru. The final story, El Chivo y Maru, is the most intriguing and mysterious one. This is the most subtle, “internal” story, but it is bleak and resigned and somewhat cynical. A tragedy occurs, and in dealing with the aftermath, depression, jealousy and helplessness set in, fraying the relationship between Valeria and Daniel. Successful supermodel Valeria moves into an apartment with her boyfriend, unknown to the public. The second part, Daniel y Valeria, is much more mature and deals with adult themes and problems.
This entire gritty segment is filmed like an indie, often using a handheld shaky cam that accentuates the seediness of it all. Reckless and cocksure, his tale spirals into one of betrayal, revenge, and danger.
Gael García Bernal dazzles as a teenager in love with his brother’s wife, and who stumbles across dogfighting and gambling as he hopes to make money to fund his dreams. The first story, Octavio y Susanna, is the most brutal and visceral and passionate, filled with the hallmarks of youth.
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