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Amores Perros (2000)
"Amores perros" (original title)

 -  Drama | Thriller  -  16 June 2000 (Mexico)
8.1
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Ratings: 8.1/10 from 138,531 users   Metascore: 83/100
Reviews: 354 user | 152 critic | 31 from Metacritic.com

A horrific car accident connects three stories, each involving characters dealing with loss, regret, and life's harsh realities, all in the name of love.

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Top 250 #183 | Nominated for 1 Oscar. Another 58 wins & 17 nominations. See more awards »

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Cast

Cast overview, first billed only:
Emilio Echevarría ...
...
Octavio (as Gael García)
...
Álvaro Guerrero ...
...
...
Marco Pérez ...
...
Gustavo
...
Jorge
Gerardo Campbell ...
Mauricio
...
Tía Luisa (Aunt Luisa)
Dunia Saldívar ...
Mama Susana (Susana's Mother)
...
Mama Octavio (Octavio's Mother)
...
Leonardo
Lourdes Echevarría ...
Maru
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Storyline

Three interconnected stories about the different strata of life in Mexico City all resolve with a fatal car accident. Octavio is trying to raise enough money to run away with his sister-in-law, and decides to enter his dog Cofi into the world of dogfighting. After a dogfight goes bad, Octavio flees in his car, running a red light and causing the accident. Daniel and Valeria's new-found bliss is prematurely ended when she loses her leg in the accident. El Chivo is a homeless man who cares for stray dogs and is there to witness the collision. Written by Anonymous

Plot Summary | Plot Synopsis

Taglines:

love is betrayal. love is anguish. love is sin. love is selfish. love is hope. love is pain. love is death. what is love? love's a bitch. See more »

Genres:

Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for violence/gore, language and sexuality | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

Country:

Language:

Release Date:

16 June 2000 (Mexico)  »

Also Known As:

Amores Perros  »

Box Office

Budget:

$2,000,000 (estimated)

Opening Weekend:

£80,560 (UK) (18 May 2001)

Gross:

$5,383,834 (USA) (6 July 2001)
 »

Company Credits

Production Co:

,  »
Show detailed on  »

Technical Specs

Runtime:

| (TV)

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The man who plays the bus driver in the scene where Octavio (Gael García Bernal) decides not to get on the bus is Bernal's father, José Ángel García. See more »

Goofs

when El Chivo is pushing his cart through the streets prior to the crash, he is alternately wearing a grey t-shirt or a Fairisle-type sweater under his jacket. See more »

Quotes

Susana: [to Octavio] You and your plans. You know what my grandmother used to say? If you want to make God laugh... tell Him your plans.
See more »

Crazy Credits

To Luciano: Because we also are what we have lost. Special Thanks to: "Abba, Pater" See more »

Connections

References Sliding Doors (1998) See more »

Soundtracks

Coolo
Written by Emanuel Horvilleur and Dante Spinetta (as Dante Spinetta Salazar)
Performed by Illya Kuryaki & The Valderramas
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
A smartly modern elegy.
22 May 2001 | by (dublin, ireland) – See all my reviews

There is a character in 'Amores perros' who looks like Karl Marx. He is a tramp and an assassin, a good bourgeois who one day, Reggie Perrin-like, abandoned his family, and, un-Reggie Perrin-like, joined the Sandanistas in an effort to create a better world, earning 20 years in prison for his troubles. Walking the streets with a creaky cart and a gaggle of mangy dogs, he was found by the policeman who jailed him, who gave him a dingy place to live, food, and the odd, non-official contract.

El Chivo is the soul of the film, the missing link, both in appearance (a man called 'The Goat', who has rejected the civilities of society and lives a beast-like existence with his dogs, amongst the ruins of civilisation), and narrative function. With intricate structure, 'Amores perros' tells three stories, one of underclass Mexican life, where survival depends on what New Labour calls 'illegal economies' (dog-fighting, bank-robbing etc.), where bright young women are stifled and degraded by thoughtless pregnancies and brutal marriages, where single mothers depend (and usually can't depend) on shiftless sons for subsistence; and this world's mirror opposite, the world of the media, of celebrity, of models and magazine editors, of daytime TV, perfume advertising campaigns and bright apartments. Family life is central here too, although in this case it is torn apart by more pleasanntly bourgeois ailments like ennui and dissatisfaction.

These two stories are mediated by the narrative of El Chivo, the man who left one of these worlds for the other, but who still negotiates the two, through his search for the daughter he left as a toddler, and in his 'job', wiping out businessman. If Mexico is emerging as part of the super-confident globalism of high-capitalism, than El Chivo is the grizzly sore thumb, the ex-Sandinista, the Marx lookalike, the man who said no, the drop-out, the forgotten, the depleted spirit of the Left, happily killing and torturing the servants of the new economic regime.

There is something Biblical about his hirsute ascetism too, presuming to judge the 'Cain and Abel' half-brothers, one an adulterer, the other with a contract out on his sibling, another example of family gone badly wrong. This, the bleak funeral and grave scenes, and Octavia's functional crossing himself every time he passes an icon on the landing, are the sole residual elements of religion in a society once ostentatiously religious.

Except for the director. Like Paul Thomas Anderson in 'Magnolia', although to a less self-conscious degree, Gonzales Inarritu is the God of his film, intricately creating the structure that links his characters and their different environments. These are negative connections, however, which work against the idea of coherent meaning in life - contact usually results in destruction (physical, material, spiritual), or diminishing.

He is also an Old Testament god, punishing those who would get too confident with their future plans or their seemingly inviolable present success - the gains of capitalism are prey to the violent whims of chance: Gonzalez Inarritu doesn't need frogs to shake a rigid society or mindset.

Moral change is linked to physical change - being beaten up, losing a leg, cutting hair. The punning title, with its reference to the dog-eat/fight-dog nature of modern life, and its general unsatisfactoriness, also gives the film its Biblical feel, the idea of Mexico as an asphalt desert, or a rubbish heap, with all these scrawny mutts scavenging the remains.

'Amores perros' shares the sickly, bleached near-monochrome look of many recent crime films, like 'Chopper' or 'Bleeder'. But where the heightened mise-en-scene in those works were expressionistic projections of their protagonists' psychosis, here it's part of a controlling world-view, the universal consciousness that creates, connects and destroys.

The three stories, though connected narratively and symbolically, are mutually distinct - the first is an exhilirating mix of violent gangster film and frustrated romance; the second is like a short story (the screenwriter is a novelist), a figurative plot where movement is through image, symbol and idea, rather than film narrative; the third is a kind of spiritual journey, with an appropriately Biblical (or Wim Wenders-like) openness.

'Amores perros' is not quite as amazing as its admirers claim - it says more about contemporary cinema that a film only has to hold your interest for it to be a masterpiece - but it is consistently enthralling, and, despite all the stylistic tics and brutal violence, bracingly humanist.


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