Analysis of Amores Perros
Analysis of Amores Perros
The Urban Environment of Mexico City, As Presented in Amores
Perros
Amores Perros represents the feature film directorial debut of Alejandro González Iñárritu and was written by Guillermo Arriaga, the craftsman behind such acclained Hollywood successes as 21 Grams and Babel. It is perhaps no surprise then that this pairing, of inspired passion and experienced creativity, resulted in a film that won 52 of the 69 total awards for which it was nominated world-wide, including the Ariel Award for Best Picture from the
Mexican Academy of Film and the Critics Week Grand Prize at the Cannes Film Festival. But it is more than exceptional filmmaking that is responsible for the critical success of this film.
Depicting the social and economic stratification of life in modern day Mexico City, Amores Perros exhibits a host of cinematic techniques whose aim is to join form to content in an effort to convey the fractured nature of, and fracturing effects on, the individual and the family that life in this particular urban environment creates.
The film takes the form of a triptych, (a composition made up of three parts). These three stories represent the three general levels of life in Mexico City. The first story explores what amounts to working class life in Mexico City. It depicts a quality of life determined by and confined within the economic limitations that are a fact of that social sphere. The second story sets itself to convey an upper class life that amounts to little more than a veneer of wealth, while the third story examines both the confined nature and the inherent freedom of the underclass of Mexico City. But, beyond a simple explication of these disparate levels of society in this capital city, the film also strives, by the ways that it intertwines these three stories, to show how these levels of society are both mutually interdependent, and, ultimately, inextricable, one from the other. Story I: The Working Class
The
The Urban Environment of Mexico City, As Presented in Amores
Perros
Amores Perros represents the feature film directorial debut of Alejandro González Iñárritu and was written by Guillermo Arriaga, the craftsman behind such acclained Hollywood successes as 21 Grams and Babel. It is perhaps no surprise then that this pairing, of inspired passion and experienced creativity, resulted in a film that won 52 of the 69 total awards for which it was nominated world-wide, including the Ariel Award for Best Picture from the
Mexican Academy of Film and the Critics Week Grand Prize at the Cannes Film Festival. But it is more than exceptional filmmaking that is responsible for the critical success of this film.
Depicting the social and economic stratification of life in modern day Mexico City, Amores Perros exhibits a host of cinematic techniques whose aim is to join form to content in an effort to convey the fractured nature of, and fracturing effects on, the individual and the family that life in this particular urban environment creates.
The film takes the form of a triptych, (a composition made up of three parts). These three stories represent the three general levels of life in Mexico City. The first story explores what amounts to working class life in Mexico City. It depicts a quality of life determined by and confined within the economic limitations that are a fact of that social sphere. The second story sets itself to convey an upper class life that amounts to little more than a veneer of wealth, while the third story examines both the confined nature and the inherent freedom of the underclass of Mexico City. But, beyond a simple explication of these disparate levels of society in this capital city, the film also strives, by the ways that it intertwines these three stories, to show how these levels of society are both mutually interdependent, and, ultimately, inextricable, one from the other. Story I: The Working Class
The