Amores Perros: A Testament to Filmmaking

“You don’t have bad situations, you made bad decisions that led you to bad situations” - someone

Whether this phrase rings true to you or not, there is no doubt that Alejandro Iñárritu’s 2000 “Amores Perros“ explores how decision after decision a path is built. Regardless of the Mexican social cast, such a path can be so brutal that if you look back on it, it’s hard to remember where things went so wrong.

This is Iñárritu’s first feature and boy did he make a first impression. Mi carnal - my friend in Mexican slang, uses hyperlink cinema to web a string of stories that draw you in from the very first scene; easily one of the most captivating first scenes ever in cinema. The acting and dialogue feel so raw and crude you cannot fathom the idea of a script for many of the scenes, especially this opening one. I am in denial to believe that. The director doesn’t want to build a world, introduce you to it, and take your hand and guide you through it, oh no - the world exists, the world many people around the world unfortunately know, and he pulls you in and you have no choice but to ride with it, like the center of flamming and sweaty mosh pit at a heavy metal concert.

Cleverly the film doesn’t have a fixed center protagonist; a case could be made for Gael Garcia Bernal’s character “Octavio” as the main lead but the attention to detail that Iñárritu puts in all the stories, makes for a balanced and well-oiled machine. 

Apart from the beautiful direction from Iñárritu, the ambient and at times energetic soundtrack by Gustavo Santaolalla, and the great overall acting; what makes this movie work is the character development and how anyone from any social class can relate to this movie. If not most of the characters are seasoned with life, filled with passion, anger, revenge, regret, or love. Octavio is “incorrectly” in love with the girlfriend and mother of his brother's son and his ultimate goal in life, it seems, is to escape with her and care for the infant. Jarocho, which I personally despised, is filled with jealousy and anger as Octavio’s dog “Cofi” repeatedly beats his dogs in make-shift, dirty, and clandestine dog fights. “Daniel” (Alvaro Guerrero) from the second story, is so madly passionate about having an affair with a Spanish model, that he says goodbye to a life with a wife and kids for the thrill of a young love. I could go on and on about all the characters. Whether you love them or hate them, that’s okay, Iñárritu’s character work here is amazing. Whether you are rich or poor, old or young, naive or nihilist, the inspiring work Iñárritu presents here, is relatable on so many levels and by people of all walks of life. Iñárritu’s vision of how to portray this is admirable and its biggest example, I believe is to be the settings. We, as the audience, explore cluttered and small rooms, humble and old kitchens, dirty and wet courtyards, and terraces filled with street dogs and it becomes evident that these are spaces where we find poor people. On the other hand, Iñárritu also welcomes us to the spaces of the rich - wide, spacious and tidy rooms with big windows, family photos hung in actual frames, and big garages with impressive cars. What fascinates me is that we are drawn to these rooms and find family values, love, death, lies, and emotional characters that portray the central themes of the movie, so perfectly. 

“Amores Perros” is a true testament to filmmaking and passion for the storyline and character. It’s no surprise that is considered one of the best movies in Mexican cinema. It has been rightly studied by many film students and served as an inspirational torch on how emotionally perfect a movie can be. On a personal level, one of my favorite films of all time and aging like fine wine.