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IMDbPro

Amores perros

  • 20002000
  • RR
  • 2h 34m
IMDb RATING
8.1/10
238K
YOUR RATING
POPULARITY
3,558
90
Emilio Echevarría, Gael García Bernal, and Goya Toledo in Amores perros (2000)
Original trailer - do not delete without contacting gamazoa -
Play trailer1:51
2 Videos
99+ Photos
  • Drama
  • Thriller
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.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.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.
IMDb RATING
8.1/10
238K
YOUR RATING
POPULARITY
3,558
90
  • Director
    • Alejandro G. Iñárritu
  • Writer
    • Guillermo Arriaga
  • Stars
    • Emilio Echevarría
    • Gael García Bernal
    • Goya Toledo
Top credits
  • Director
    • Alejandro G. Iñárritu
  • Writer
    • Guillermo Arriaga
  • Stars
    • Emilio Echevarría
    • Gael García Bernal
    • Goya Toledo
  • See production, box office & company info
    • 418User reviews
    • 164Critic reviews
    • 83Metascore
  • See more at IMDbPro
  • Top rated movie #235
    • Nominated for 1 Oscar
      • 55 wins & 25 nominations total

    Videos2

    Tráiler [OV]
    Trailer 1:51
    Tráiler [OV]
    Amores Perros
    Trailer 2:04
    Amores Perros

    Photos110

    Gael García Bernal in Amores perros (2000)
    Emilio Echevarría in Amores perros (2000)
    Marco Pérez in Amores perros (2000)
    Gael García Bernal in Amores perros (2000)
    Gael García Bernal in Amores perros (2000)
    Amores perros (2000)
    Amores perros (2000)
    Amores perros (2000)
    Amores perros (2000)
    Amores perros (2000)
    Amores perros (2000)
    Amores perros (2000)

    Top cast

    Edit
    Emilio Echevarría
    Emilio Echevarría
    • El Chivo
    Gael García Bernal
    Gael García Bernal
    • Octavio
    • (as Gael García)
    Goya Toledo
    Goya Toledo
    • Valeria
    Álvaro Guerrero
    Álvaro Guerrero
    • Daniel
    • (as Alvaro Guerrero)
    Vanessa Bauche
    Vanessa Bauche
    • Susana
    Jorge Salinas
    Jorge Salinas
    • Luis
    Marco Pérez
    Marco Pérez
    • Ramiro
    Rodrigo Murray
    Rodrigo Murray
    • Gustavo
    Humberto Busto
    Humberto Busto
    • Jorge
    Gerardo Campbell
    • Mauricio
    Rosa María Bianchi
    Rosa María Bianchi
    • Tía Luisa (Aunt Luisa)
    Dunia Saldívar
    • Mama Susana (Susana's Mother)
    Adriana Barraza
    Adriana Barraza
    • Mama Octavio (Octavio's Mother)
    José Sefami
    José Sefami
    • Leonardo
    Lourdes Echevarría
    • Maru
    Laura Almela
    • Julieta
    Ricardo Dalmacci
    Ricardo Dalmacci
    • Andrés Salgado
    Gustavo Sánchez Parra
    Gustavo Sánchez Parra
    • Jarocho
    • Director
      • Alejandro G. Iñárritu
    • Writer
      • Guillermo Arriaga
    • All cast & crew
    • See more cast details at IMDbPro

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    Storyline

    Edit

    Did you know

    Edit
    • Trivia
      For the scenes where the dogs appeared to be dead or dying, the animals were actually heavily sedated under the careful eye of the Mexican SPCA. Multiple dogs that looked like one dog seen on screen were also used, so that the same dog was not under sedation for more than half an hour and not more than once a day at a time.
    • Goofs
      For photos taken for the 2nd time in the photo booth, El Chivo is wearing the brother's black sportcoat, yet when he subsequently pastes the photo in the album, the sportcoat appears distinctly burgundy in color.
    • Quotes

      El Chivo: At the time, I thought there were more important things than being with you and your mom. I wanted to set the world right, and then share it with you. I failed, as you can see.

    • Crazy credits
      To Luciano: Because we also are what we have lost. Special Thanks to: "Abba, Pater"
    • Alternate versions
      The following are from the deleted scenes on the DVD:
      • An alternate ending where the camera is outside the house where El Chivo was holding the two business partners hostage and two gunshots are heard.
      • A comedic and tender scene between Daniel and Valeria which would have come shortly after Valeria returned from the hospital. Valeria wakes up Daniel in the middle of the night to help her get to the bathroom.
      • A conversation between Daniel and Valeria in their apartment where Valeria reveals to the audience that she had an abortion.
      • A brief scene where Octavio bursts into Susanna's mother's apartment searching for her.
    • Connections
      Featured in The 58th Annual Golden Globe Awards 2001 (2001)
    • Soundtracks
      Amores Perros
      Written by Control Machete

      Performed by Control Machete

    User reviews418

    Review
    Top review
    8/10
    A smartly modern elegy.
    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.
    helpful•268
    50
    • the red duchess
    • May 22, 2001

    FAQ2

    • Is "Amores perros" based on a book?
    • What does the title "Amores Perros" mean?

    Details

    Edit
    • Release date
      • April 13, 2001 (United States)
    • Country of origin
      • Mexico
    • Language
      • Spanish
    • Also known as
      • Love Dogs
    • Filming locations
      • Colonia Condesa, Mexico City, Distrito Federal, Mexico
    • Production companies
      • Altavista Films
      • Zeta Film
    • See more company credits at IMDbPro

    Box office

    Edit
    • Budget
      • $2,000,000 (estimated)
    • Gross US & Canada
      • $5,408,467
    • Opening weekend US & Canada
      • $61,047
      • Apr 1, 2001
    • Gross worldwide
      • $20,908,467
    See detailed box office info on IMDbPro

    Technical specs

    Edit
    • Runtime
      2 hours 34 minutes
    • Color
      • Color
    • Sound mix
      • Dolby Digital
    • Aspect ratio
      • 1.85 : 1

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