El Chivo’s actual job is to kill Louis Miranda Solares, the half-brother and business-associate of Gustavo Garfias, who hired El Chivo. The last story ‘El Chivo and Maru’, is about the tramp El Chivo, who makes his money as a hired assassin, trying to get in contact with his daughter Maru, who thinks that her father is dead. In the meanwhile, her dog, Richie, falls down the floor and gets almost eaten by rats, rescued in the last moment by Daniel, destroying the floor to get the dog out of it. Valeria’s leg gets hurt in the accident and has to be amputated after some weeks. Model Valeria and editor Daniel had just moved into their new apartment, because Daniel suddenly left his wife Julieta and his safe family life for the beautiful and successful model Valeria. Now the second story, ‘Valeria and Daniel’, begins.
Amores perros analysis tv#
This time we get to know the woman in the second car of the car accident: it’s Valeria Amaya, a model, who attended a TV show that Octavio and his friend were watching before going to the last dogfight. The car race that we already saw in the opening sequence starts again.
As a countermanoeuvre, Octavio stabs Jarocho in his stomach and flees with his dog and his friend in his car from Jarocho’s gang. At its last dogfight, Octavio’s dog Cofi gets shot by a jealous combatant, Jarocho, whose dog is going to lose. But instead of wining Susana by getting rid of Ramiro, Ramiro and Susana flee with Octavio’s money. Therefore Octavio pays a gang to beat up his brother Ramiro. He earns money with dogfights and gives it to Susana in order to run away with her and start a new life somewhere else. Octavio is in love with Susana, the teenage mum and wife of his violent brother. Then the plot immediately switches to an illegal dogfight to tell the story of Octavio and Susana. At a crossroad, they hit the car of a beautiful woman, who gets seriously injured. Octavio, his friend and the bleeding dog Cofi in the back of the car are escaping from another car. The film begins with a car race and crash. The protagonists of these stories have nothing in common, but a car accident and the fact, that they are dog-owners. The plot isn’t linear, it doesn’t use flashbacks or flash-forwards, it tells three stories - ‘Octavio and Susana’, ‘Valeria and Daniel’ and ‘El Chivo and Maru’ - edited together in an unusual way. The opening sequence will be analysed accurately, then I concentrate on several key-scenes.Īmores Perros is ‘structured around three loosely connected stories linked by a car accident’ (De la Fuente, 2001, p. Firstly, I want to give some general information about the specific cinematographic techniques used in Amores Perros and then I would like to analyse several sequences more properly. After that, I will begin the analysis of the cinematography and give some background information about the production.
Amores perros analysis movie#
I’ll start with general information about the movie and then I will sum up the plot very briefly. In this essay, I would like to concentrate on the cinematography of Amores Perros and analyse how it creates meaning and supports the story and the characters. The cinematic and editing techniques used in this movie are very different from films of former Latin American filmmakers. 221).īut what makes this film so successful? The brilliant narration, the strong soundtrack, the outstanding cinematography and special marketing strategies could be factors for its success. ‘The critical and commercial success of González Iñárritu’s film comes at a time when the Mexican film industry appears to be going through its worst period since the early 1930s’ (D’Lugo, 2003, p. It earned $ 10 million in Mexico, $ 5 million in the US and $20 million worldwide (Smith, 2003, p. The film not only won a lot of prizes at international film festivals, it was also very successful at the box offices. The winner of over thirty awards (including the most successful film at the Mexican box office of its year), Amores Perros is widely credited with kick-starting a Mexican film industry which was in ruins and heralding a renaissance for the national audiovisual sector. By referring to specialist magazine Cine XS (Flores-Durán and Pedroza, 2000) Paul Julian Smith explains that ‘ Amores Perros is representative of a ‘new trend’ in Mexican cinema’ (Smith, 2003, p.
It was the first Mexican film after 25 years that entered an Oscar competition. Released in 2000 at the Cannes Film Festival, the movie won the Prize of the Critic's Week at Cannes. Amores Perros (2000) is the first feature film of Mexican Filmmaker Alejandro González Iñárritu.