Movie Loner

In English, Amores Perros loosely translates to “Love’s a Bitch.” Crass as that may sound, I would say that sentiment is accurate. Love should be easy, but it never is. This film vividly illustrates that point better than any of those self-help dopes on television. When the decade wraps up in a couple years, I’ll have a difficult time leaving Amores Perros off my “best of” list. It’s that good.

A horrific car crash sets the plot in motion. Dog fighters Octavio and Jorge are being pursued by thugs. Gorgeous supermodel Valeria is heading home to her new apartment. Vagrant/hitman El Chivo happens to be passing by. When Octavio’s car collides with Valeria’s, a series of interconnected tragedies follow. Jumping back and ahead in time, three stories unfold, and three lives are irrevocably changed.

In an interesting twist, dogs prove vital to each character’s existence. Cofi, Octavio’s Rottweiler, earns his owner status in the brutal sport of dogfighting. Cofi’s success ultimately leads to Octavio’s undoing. Valeria’s little dog Richie provides much needed comfort in her post-accident recovery. However, Richie’s entrapment below the apartment floorboards is a sad harbinger of Valeria’s fate. El Chivo’s only friends are a gaggle of strays that trail him in his wanderings. His compassion for animals, especially those in need, pushes him to leave his violent ways behind.

Director Alejandro Gonzalez Inarritu’s and writer Gulliermo Arriaga’s collaboration results in an intense, often bleak movie. The three-story structure melds coherently, set against a brimming Mexico City backdrop. Inarritu and Arriaga have since made 21 Grams and Babel, employing similar plot structures with mixed results. Amores Perros stands out. The pace is kinetic, the acting unrestrained but true. This put Gael Garica Bernal on the map; his portrayal of the sensitive but doomed Octavio is memorable. Give this film a look, even if subtitles annoy you.

The trailer for Amores Perros:

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