![]() ![]() He brings it right to a boil, and keeps the heat turned up throughout. He throws everything into the stew, but he doesn’t let the story simmer. Inarritu doesn’t have the time for precision. His film had a rich, textural, almost surreal look. Bunuel, however, was precise and methodical. “Amores” reminded me of Luis Bunuel’s “Los Olvidados”, a great Mexican film made by a Spanish director. The holes are fewer and a lot less glaring than the ones in “Traffic”, maybe because “Amores Perros” achieves a kind of gritty realism without seeming to work so hard for it. There are a number of plot inconsistencies which are bound to occur when the palate is as big as Inarritu’s. Inarritu honed his film-making skills as a director of television commercials so he knows how to get a bang for his buck and do as much as he can in short scenes. “Amores Perros” moves fast for such a long film (2½ hours). ![]() They looked contrived, stereotypical, and molded to fit public sensibilities. Despite good acting, sharp-shooter editing, and a flashy look, the co-existing stories didn’t seem to gel. Steven Soderbergh tried this technique with “Traffic”. It looks in some ways like the films Robert Altman used to make about people who can’t connect with each other but whose lives unexpectedly intersect. ![]() Its circular, “what goes around comes around” progression is similar to, but much better than, the whirlwind plot of “ Pulp Fiction”. From this center, the story moves forward and backward in time. Each story has its own unfortunate twist of fate, and all come together tragically in a devastatingly violent car accident which serves as the film’s focal point. The movie has its setting in modern-day Mexico City, and it tells three different love stories. It has opened to much acclaim in the United States, and was nominated for an Oscar for best foreign language film. “Amores Perros” is the debut feature film of Mexican director, Alejandro Gonzalez Inarritu. ![]()
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