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This third act works as a reticent clarification of the first two. The man is a relic of Mexico City's recent political history and a sign of its decay. His star, Emilio Echevarria, is El Chavo (The Kid), a crusty vagabond who, since his guerrilla days, has been living in squalor as an assassin for hire with a pack of dogs. The film culminates with a third act in which Inarritu brings the rawness, chaos and hip-hop echoes of the first 100 minutes to a climax, spinning a thrilling opera in which the story lines intersect. But Guerrero and Toledo go at each other like a couple of fight dogs - volcanic, foaming at the mouth. In hindsight, this midsection is a brief respite from the ugliness on either side of it.
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This middle passage is little more than a charged, soapy interlude that never succumbs to the grotesquerie Inarritu has conditioned viewers to expect is lurking beneath all that floor. The model was injured in the opening car accident and starts going a little mad when the dog climbs below the floorboards of their new house. It's a warning that viewers will rely on in each of the film's three acts, the second of which involves a magazine editor (Alvaro Guerrero), his young model mistress (Goya Toledo) and her yappy Lhasa apso.
AMORES PERROS FILM MOVIE
DISCLAIMER ON ANIMAL SAFETYĪ disclaimer pops at the start of the movie to soothe concerns about animal safety. When Inarritu takes you through a corridor, past other dogs, past the dried blood, you sense what's coming, and the camera may as well be walking the plank to hell. The key to his financial gain rests with his rottweiler, a pet monster. But before we get a whiff of what precipitated it, there's a crash.Ī narrative rewind then takes us back a few days, to when Octavio has hatched a plan to run off with his brother's girlfriend. His name is Octavio ( Gael Garcia Bernal), and his car is making a getaway from a dogfight gone deadly.
AMORES PERROS FILM DRIVER
Its driver is a shrieking mess of blood, sweat and tears. Its backseat cargo is a wounded dog - not the last you'll see, either. Structured as a triptych, "Amores Perros" opens with a speeding car racing through the streets.