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Amores Perros (2000)

Amores perros (original title)
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.

Director:

(as Alejandro González Iñárritu)

Writer:

(as Guillermo Arriaga Jordán)
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Cast

Cast overview, first billed only:
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...
Octavio (as Gael García)
...
...
Daniel (as Alvaro Guerrero)
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...
...
...
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

On the brink of the new Millennium in the bustling City of Mexico, one horrible car accident intertwines inextricably the lives of three perfect strangers. Octavio, a rebellious adolescent who is secretly in love with his sister-in-law, dreams of escaping his miserable life, and for this reason, he enters reluctantly the obscure world of dog fighting with his lethal dog Cofi. And then unexpectedly, Valeria, a stunning woman and famous supermodel, will cross paths with Octavio, while in the meantime, her pampered little dog Richie manages to vanish into thin air in the confined space of her apartment. Lastly, Chivo, an ex-guerrilla vagabond, after abandoning his little daughter, unable to make up for lost time, he channels his love to the city's strays and a mortally wounded Rottweiler. In the end, even though all the weary characters, men and beasts, wish for a bright future, in this life-changing journey in the pursuit of love, sometimes infidelity, sin and death can get in the way. Written by Nick Riganas

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:

13 April 2001 (USA)  »

Also Known As:

Amores Perros  »

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Box Office

Budget:

$2,000,000 (estimated)

Opening Weekend USA:

$61,047, 1 April 2001, Limited Release

Gross USA:

$5,383,834, 8 July 2001
See more on IMDbPro »

Company Credits

Production Co:

,  »
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Technical Specs

Runtime:

| (TV)

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The first cut was ten minutes longer and Alejandro González Iñárritu wasn't entirely happy with it. After sharing his doubts with a friend, this one proposed he should show him to the more experienced Mexican filmmaker Guillermo del Toro. After seeing it, Del Toro said to González Iñárritu that he should trim it a little bit, because he saw a great movie that could be a masterpiece, to which the director argued back. Del Toro then asked permission to make a shorter cut, which González Iñárritu granted. After seeing his friend's cut, the filmmaker agreed with him and made together the final 150 minutes cut. See more »

Goofs

The first time we see Valeria's 'Enchant' banner, her head is covering the 'C', but the next time that the banner is shown, her head is not covering the 'C' at all, then, the last time that we see the banner, the 'C' is completely covered by her head again. See more »

Quotes

Octavio: [to Susana numerous times] If not now, then when?
See more »

Crazy Credits

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

Connections

References Reservoir Dogs (1992) See more »

Soundtracks

Corazón
By Carole King
Performed by Titán
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Frequently Asked Questions

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User Reviews

 
A smartly modern elegy.
22 May 2001 | by 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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