Crashing into the international film market with Amores perros
in The three amigos
Abstract only
Log-in for full text

From Amores perros, to 21 Grams, to Babel, to Biutiful (2010), Alejandro González Iñárritu and his team have travelled from Mexico, to the USA, to multinational landscapes, and to the immigrant world of Barcelona. This chapter considers Amores perros within the context of Iñárritu's trajectory as a filmmaker. It demonstrates the ways in which Amores perros establishes signature traits that will be developed in the subsequent films that he directs despite the shifts in national contexts and production modes. Amores perros is divided into three stories or chapters, Octavio and Susana, Valeria and Daniel, and el Chivo and Maru, with each focusing on a key character. Several critics have focused on the Hispanic and specifically Mexican elements of the film. The chapter considers the allegorical implications of the parallels made between absent fathers and the failing state under the ruling Institutional Revolutionary Party.

The three amigos

The transnational filmmaking of Guillermo Del Toro, Alejandro González Iñárritu, and Alfonso Cuarón

Metrics

All Time Past Year Past 30 Days
Abstract Views 366 132 29
Full Text Views 54 11 0
PDF Downloads 52 14 0