COM 192:

Interpreting Cinema

Prof: Ashwin Ramanathan Sir

Name: Nikhil Gupta

Roll No: 2010110431

Film Analysis of the movie ‘Amores Perros’ in

Essay Format
"Amores Perros" arrives from Mexico following clouds of glory--it was one of this
year's Oscar nominees--and causing a stir on the Internet, where fanboys don't
generally go crazy for foreign films. It covers three interconnected storylines that
span Mexico City's socioeconomic strata, from rich TV people to working class to
homeless people, and it circles those stories with an homage to Quentin Tarantino,
whose "Pulp Fiction" had a magnetic influence on young filmmakers.
 
Many people are influenced, but only a few are chosen: In his feature debut,
Alejandro Gonzalez Inarritu borrows what he can, yet he is an original, exciting
director.

The English title is "Love's a Bitch," and all three of his stories feature dogs who
become as vital as the human characters. The film begins with a disclaimer
guaranteeing that no animals were injured during production. That disclaimer is
generally placed towards the end of films but putting it first in "Amores Perros" is a
good idea because the opening sequence contains dog fights, and all three will be
difficult for soft-hearted animal lovers to watch.

The first chapter, "Octavio and Susana," begins with cars racing through city streets
in a chase and shooting. Because the visuals are so rapid and confusing, we don't
realise the bleeding body in the rear seat belongs to a dog at first. This is Cofi, the
adoring fighting animal of Octavio (Gael Garcia Bernal), a penniless young man who
is hopelessly in love with Susana (Vanessa Bauche), the adolescent wife of his
menacing brother Ramiro (Marco Perez). Flashbacks show Cofi being shot after
killing a champion dog; now the chase culminates in a dramatic crash at an
intersection--a crash that will involve all three of the film's stories.

"Daniel and Valeria," the second episode, introduces us to a television producer

(Alvaro Guerrero) who has abandoned his family to live with a gorgeous young
model and actress (Goya Toledo). Valeria's image smiles in from a billboard seen
through a window; he's rented a large new residence for her. But their joy is short-
lived as Valeria's little puppy chases a ball into a hole in the floor, vanishes beneath
the floorboards, and never returns. Is it disoriented, imprisoned, or terrified? "There
are thousands of rats down there," Valeria screams at Daniel.

We learn that Valeria was engaged in the crash that begins the film; we see it from a
different perspective this time, and it still surprises us every time it happens. Her leg
is seriously damaged, and one complication follows another--all while the dog
snuffles beneath the floor, sometimes piteously howling, sometimes ominously silent.
This scenario owes a lot to the great Spanish director Luis Bunuel, who made some
of his best films in Mexico and whose "Tristana" stars Catherine Deneuve as a
beautiful woman who loses her leg. The part is sad and ironic, as the romance is
tested by the beauty's mutilation and the frustration (which every pet owner knows)
of a dog that will not come when called.

Throughout the first two portions, we've witnessed a bearded and weathered street
person accompanied by his own group of dogs. The final piece, "El Chivo and Maru,"
stars Emilio Echevarria, a famous Mexican actor who, we learn, is a revolutionary-
turned-squatter who survives by killing for hire. El Chivo is approached by a man
looking to get rid of his partner, and he is inspired to put his own sadistic twist to this
murder plot. The three stories have many connections, arguably the most noteworthy
being that El Chivo rescued and now cares for the injured dog Cofi.

Critical Analysis:
Introduction:
 
"Amores perros" is a critically acclaimed film directed by Alejandro González Iñárritu,
released in 2000. The film follows the lives of three characters in Mexico City whose
lives intersect through a car accident. The film explores themes such as love,
betrayal, and redemption through the interwoven stories of the characters. In this
analysis, we will examine the film's use of visual and narrative techniques to convey
its themes and the impact of the film on Mexican cinema.
 
Narrative Techniques:
 
The film employs a non-linear narrative structure, where the three stories intersect
and intertwine. The use of flashbacks and flash-forwards enhances the film's
complexity and creates a sense of disorientation. The film opens with a fast-paced
montage of violent dog fights, introducing the audience to the brutal world of
underground dog fighting. This montage serves as a metaphor for the characters'
struggles and the film's themes.
 
Each of the three stories is connected to the central car accident, which acts as a
catalyst for the characters' transformation. The first story follows Octavio, who enters
his dog into illegal dog fights to earn money to run away with his sister-in-law. The
second story features Daniel, who leaves his wife and children for a supermodel,
Valeria, only to have their relationship fall apart when Valeria is left paralyzed in the
car accident. The third story revolves around El Chivo, a former guerrilla fighter
turned hitman who is hired to kill Octavio's brother.
 
The film's use of multiple perspectives enhances the audience's understanding of the
characters and their motivations. The audience is given insight into the characters'
thoughts and emotions through the use of voiceovers, flashbacks, and visual cues.
For example, in the second story, the audience is shown Valeria's point of view as
she struggles to survive after the car accident. This sequence is shot in extreme
close-ups, emphasizing Valeria's isolation and pain.
 
Visual Techniques:
 
The film's visual style is characterized by its use of handheld camera work, gritty
urban landscapes, and intense close-ups. The film's opening sequence, featuring the
dog fights, is shot in a frenzied, documentary-style, which creates a sense of
urgency and immediacy. The use of handheld cameras throughout the film creates a
sense of realism and intimacy, as if the audience is an active participant in the
characters' lives.
 
The film's use of slow-motion during the car accident scene is particularly effective in
conveying the shock and chaos of the moment. The use of slow-motion also
emphasizes the idea that the accident is a turning point in the characters' lives. The
use of color and lighting in the film is also noteworthy. The film's color palette is
dominated by earthy tones, which creates a sense of grittiness and realism. The
lighting is used to create a sense of contrast between light and dark, emphasizing
the characters' inner turmoil.
 
Themes:
 
The film's central theme is the destructive nature of love. The title, "Amores perros,"
translates to "love's a bitch," which sets the tone for the film's exploration of the
darker side of human relationships. The film depicts love as a force that can lead to
violence, betrayal, and suffering. The characters' relationships are characterized by
manipulation, jealousy, and desperation. The film suggests that love can be a
destructive force when it is fueled by selfishness and greed.
 
Another theme explored in the film is the idea of redemption. The characters' lives
are transformed by the car accident, which forces them to confront the
consequences of their actions. The film suggests that redemption is possible, but it
requires sacrifice and a willingness to confront one's past mistakes. The film's
ending, which shows Octavio and El Chivo finding redemption through selfless acts,
offers
 
Destructive Nature of Love:
 
The film's portrayal of love as a destructive force is evident in each of the three
stories. Octavio's love for his sister-in-law leads him to enter his dog into illegal dog
fights to earn money to run away with her. His actions ultimately lead to the death of
his brother and his own downfall. Daniel's love for the supermodel, Valeria, leads him
to abandon his wife and children and eventually causes him to lose everything he
holds dear. Valeria's love for her dog leads her to take unnecessary risks that
ultimately result in her paralysis.
 
The film suggests that love, when it is fuelled by selfishness and greed, can have
disastrous consequences. The characters' relationships are characterized by
manipulation, jealousy, and desperation. The film's title, "Amores perros," which
translates to "love's a bitch," serves as a warning of the dark side of love.
 
Redemption:
 
Despite the destructive nature of love, the film also explores the possibility of
redemption. The car accident acts as a catalyst for the characters' transformation,
forcing them to confront the consequences of their actions. The film suggests that
redemption is possible, but it requires sacrifice and a willingness to confront one's
past mistakes.
 
Octavio's redemption is the most apparent in the film. He realizes the damage his
love for his sister-in-law has caused and decides to sacrifice his own life to save
hers. This act of selflessness is a turning point for his character, and he dies a hero's
death. El Chivo's redemption is also notable in the film. He is a former guerrilla
fighter turned hitman who has lost touch with his humanity. However, his
involvement in the car accident and his relationship with his estranged daughter,
whom he saves at the end of the film, serves as a catalyst for his redemption.
 
The film's ending, which shows Octavio and El Chivo finding redemption through
selfless acts, offers a glimmer of hope amidst the darkness of the film. The film
suggests that even in the bleakest of situations, redemption is possible for those who
are willing to make amends for their past mistakes.
 
Social Commentary:
 
The film also serves as a social commentary on the harsh realities of life in Mexico
City. The film's setting, a gritty urban landscape, is a reflection of the social and
economic inequalities that exist in the city. The film's portrayal of illegal dog fighting,
organized crime, and poverty highlights the challenges faced by many in the city.
 
The film's use of multiple perspectives also offers a nuanced portrayal of Mexican
society. The characters come from different social classes and backgrounds, and
their experiences offer a glimpse into the diversity of Mexican society. The film's
depiction of the middle class, through Daniel's character, is particularly noteworthy.
Daniel's character is a successful magazine publisher who has achieved the
American dream, but his life is ultimately hollow and unfulfilling.
 
The film's exploration of the darker side of Mexican society has made it a significant
contribution to Mexican cinema. The film's impact on Mexican cinema can be seen in
the emergence of the "Nuevo Cine Mexicano" movement, which seeks to address
the social and political issues faced by Mexico through film.
 
Conclusion:
 
"Amores perros" is a film that explores the destructive nature of love, the possibility
of redemption, and the harsh realities of life in Mexico City. The film's use of
narrative and visual techniques enhances its complexity and creates a sense of
disorientation, mirroring the characters' experiences. The film's impact on Mexican
cinema is significant, and its portrayal of Mexican society has made it a landmark in
Mexican cinema.