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On its release in 2001 critics were as quick to dub Amores Perros the Mexican Pulp Fiction as they were to name last year's City of God the Brazilian GoodFellas . Such a tag, while rightly acknowledging a structural experimentalism akin to Tarantino's LA tapestry, pays scant justice to the achievement of first-time director Alejandro González Iñárritu. His agile camerawork, masterly control of tone and unflinching eye for irony make Amores Perros one of the more eminent debuts of the decade (www.bbc.co.uk....rros.shtml)
Mexican films from the Golden Era in the 1940s and 1950s are the greatest examples of Latin American cinema, with a huge industry comparable to the Hollywood of those years. Mexican films were exported and exhibited in all of Latin America and Europe . ''Maria Candelaria'' (1944) by Emilio Fernández , was the one first films to be awarded Palme d'Or at the Cannes Film Festival in 1946, the first time the event was held after World War II. Famous actors and actress from this period include MarÃa Félix , Pedro Infante , Dolores del RÃo , Jorge Negrete and comedian Cantinflas .More recently, films such as '' Como agua para chocolate '' (1992), '' Cronos '' (1993), '' Amores Perros '' (2000), '' Y tu mamá también '' (2001), '' El Crimen del Padre Amaro '' (2002), '' Pan's Labyrinth '' (2006) and '' Babel '' (2006) have been successful in creating universal stories about contemporary subjects, and were internationally recognised, as in the prestigious Cannes Film Festival . Mexican directors Alejandro González Iñárritu ('' Amores Perros '', '' Babel ''), Alfonso Cuarón ('' Children of Men '', '' Harry Potter and the Prisoner of Azkaban ''), Guillermo del Toro , Carlos Carrera ('' The Crime of Father Amaro ''), and screenwriter Guillermo Arriaga are some of the most known present-day film make (www.tripatlas.com/Mexico)
Amazon.com video review: Amores Perros roughly translates to "Love's a bitch," and it's an apt summation of this remarkable film's exploration of passion, loss, and the fragility of our lives. In telling three stories connected by one traumatic incident, Mexican director Alejandro Gonzalez Inarritu uses an intricate screenplay by novelist Guillermo Arriaga to make three movies in close orbit, expressing the notion that we are defined by what we lose-from our loves to our family, our innocence , or even our lives. These interwoven tales-about a young man in love with his brother 's pregnant wife, a perfume spokeswoman and her married lover, and a scruffy vagrant who sidelines as a paid killer -are united by a devastating car crash that provides the film's narrative nexus, and by the many dogs that the characters own or care for. There is graphic violence, prompting a disclaimer that controversial dog-fight scenes were harmless and carefully supervised, but what emerges from Amores Perros is a uniquely conceptual portrait of people whom we come to know through their relationship with do (us.imdb.com....712/amazon)
The episodic structure of Amores Perros could have been damaging to thefilmhad it not been for the inspired way the stories overlap only so much astonot exasperate the audience. In the three stories, rarely does acharacterfrom one interact with a character from another, outside the unifying carcrash scene. There are truly only two occurrences: when El Chivo, swordinhand, scares off a frustrated Jarocho who plans to sic his dog on one ofElChivo's, and when Valeria appears on a Mexican morning show broadcast intoOctavio's home the morning of the accident. This interaction was all thatwas needed for Amores Perros to be successful as an episodic film. Itsstructure lends itself well to subject matter and storyline. Iñárritutellsit to us this way; the literary devices at use bring it to life and itsstructure gives it legs to move. Throughout it, so well crafted, one canmentally fuse all three stories together and see one single charactergoingthrough the process of fighting for love, realizing what a trivial pursuitit is, abandoning it, and then spending the rest of his life trying totouchit from behind the bars self-guil (us.imdb.com....ercomments)
"Babel" is the conclusion of the trilogy by director Alejandro González Iñárritu and screenwriter Guillermo Arriaga that began with "Amores perros " and "21 Grams ." "Amores perros " was a viscerally powerful experience, but "21 Grams " I found conceptually and emotionally chaotic. Arriaga likes to pile on the plots, but more isn't always better. (www.csmonitor.com....-almo.html)
'Amores perros ' shares the sickly, bleached near-monochrome look of manyrecent crime films, like 'Chopper' or 'Bleeder'. But where the heightenedmise-en-scene in those works were expressionistic projections of theirprotagonists' psychosis, here it's part of a controlling world-view, theuniversal consciousness that creates, connects and destroys. (us.imdb.com/title/tt0245712/)
'Amores perros ' is not quite as amazing as its admirers claim it saysmoreabout contemporary cinema that a film only has to hold your interest for itto be a masterpiece but it is consistently enthralling, and, despite allthe stylistic tics and brutal violence, bracingly humanist (us.imdb.com/title/tt0245712/)
With Amores Perros , Cinema Paradiso, The Last Emperor , and Metropolis , it's another fine week for classics of world film, and that's before the two Criterion double-disc sets. (worldfilm.about....s/tp_2.htm)
Like Amores Perros and 21 Grams , Babel crosses three sets of disparate characters' stories against each other, although this time the characters - and plotlines - are split across three continents (www.cnn.com....iew.babel/)
The boom in Latin American cinema signaled by art-house hits like "Amores Perros ," "Y Tu Mamá También," and "City of God " should be further spurred by "The Motorcycle Diaries. (topics.nytimes.com....er_salles/)
This time I was curious because I liked " Amores Perros " (the same director) and also the idea of a multicultural film Win Wenders alike) and that was enough attractive to go and check i (nyuudo.blogspot.com....chive.html)
Interlocking storyteller/everything's connected screenwriter Guillermo Arriaga renowned for his interlocking, everything's connected stories by director Alejandro González Iñárritu 60;Amores Perros " "21 Grams ," and "Babel") will direct Charlize Theron in his directorial debut, "The Burning Plain." You'll remember that Arriaga and Iñárritu had a falling ou (theplaylist.blogspot.com....chive.html)
Are we really arguing 2000 films? For the record, I like neither Traffic nor Gladiator , but did like Crouching Tiger. But the best films of the year were In the Mood For Love , Requiem for a Dream , George Washington, and Amores Perros (hollywood-elsewhere.com....ywhere.php)
'Amores perros ' shares the sickly, bleached near-monochrome look of manyrecent crime films, like 'Chopper' or 'Bleeder'. But where the heightenedmise-en-scene in those works were expressionistic projections of theirprotagonists' psychosis, here it's part of a controlling world-view, theuniversal consciousness that creates, connects and destroys (us.imdb.com....ercomments)
The screenwriter is Guillermo Arriaga, whose "Amores Perros " and "21 Grams " share with this film an intricate time structure and a feeling for hard-baked violence (www.csmonitor.com....-almo.html)
With "Amores Perros ," "Cinema Paradiso," "The Last Emperor ," and "Metropolis ," it's another fine week for classics of world film, and that's before the two Criterion double-disc sets (worldfilm.about.com....leases.htm)
9. Amores perros The 2000 film directed by Alejandro González Iñárritu tells three distinct stories that have an event in common, a Mexico City car accident. Leading actors are Gael García Bernal, Vanessa Bauche, Álvaro Guerrero, Goya Toledo and Emilio Echevarría (spanish.about.com...._films.htm)
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