Amores Perros (2000) Mexico
Amores Perros Image Cover
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Director:Alejandro González Iñárritu
Studio:Lions Gate
Producer:Alejandro González Iñárritu, Francisco González Compeán, Guillermo Arriaga, Martha Sosa Elizondo, Monica Lozano Serrano, Pelayo Gutiérrez
Writer:Guillermo Arriaga
Date Added:2006-08-22
Awards:Nominated for Oscar. Another 51 wins & 14 nominations
Picture Format:Widescreen
Aspect Ratio:1.85:1
Subtitles:English, French
Alejandro González Iñárritu  ...  (Director)
Guillermo Arriaga  ...  (Writer)
Emilio Echevarría  ...  El Chivo
Gael García Bernal  ...  Octavio
Goya Toledo  ...  Valeria
Álvaro Guerrero  ...  Daniel
Vanessa Bauche  ...  Susana
Jorge Salinas  ...  Luis
Marco Pérez  ...  Ramiro
Rodrigo Murray  ...  Gustavo
Humberto Busto  ...  Jorge
Gerardo Campbell  ...  Mauricio
Rosa María Bianchi  ...  Tía Luisa (Aunt Luisa)
Dunia Saldívar  ...  Mama Susana (Susana's Mother)
Adriana Barraza  ...  Mama Octavio (Octavio's Mother)
José Sefami  ...  Leonardo
Lourdes Echevarría  ...  Maru
Laura Almela  ...  
Ricardo Dalmacci  ...  
Gustavo Sánchez Parra  ...  
Dagoberto Gama  ...  
Gustavo Muñoz  ...  
Comments: Love. Betrayal. Death.

Summary: Amores Perros roughly translates to "Love's a bitch," and it's an apt summation of this remarkable film's exploration of passion, loss, and the fragility of our lives. In telling three stories connected by one traumatic incident, Mexican director Alejandro Gonzalez Inarritu uses an intricate screenplay by novelist Guillermo Arriaga to make three movies in close orbit, expressing the notion that we are defined by what we lose--from our loves to our family, our innocence, or even our lives. These interwoven tales--about a young man in love with his brother's pregnant wife, a perfume spokeswoman and her married lover, and a scruffy vagrant who sidelines as a paid killer--are united by a devastating car crash that provides the film's narrative nexus, and by the many dogs that the characters own or care for. There is graphic violence, prompting a disclaimer that controversial dog-fight scenes were harmless and carefully supervised, but what emerges from Amores Perros is a uniquely conceptual portrait of people whom we come to know through their relationship with dogs. The film is simultaneously bleak, cynical, insightful, and compassionate, with layers of meaning that are sure to reward multiple viewings. --Jeff Shannon