By Celestino Deleyto
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Extra resources for Alejandro Gonzalez Inarritu
The narrative form of the films, therefore, is inspired as much by postmodern society as by other texts. Yet it is undeniable that from the early 1990s there has been a renewal of interest in experimentation with temporal structures, and Iñá rritu’s films are also a consequence of that trend. This context is relevant to explain, for example, the films’ reception by audiences that, as had happened before in the 1960s and 1970s, were becoming familiar again with such manipulations. At the same time, close attention must be given to the filmmaker’s specific approach to time and the ways in which the temporal fragmentation of his multistranded plots allows him to convey certain attitudes toward society and interpersonal relationships.
S. cinema. It has become a transcultural phenomenon (Tröhler), and Mexican cinema is not an exception to the trend. More or less scattered examples, such as Los Olvidados, Reportaje (1953), and Mecánica Nacional, can be found in earlier decades, but since the 1990s, Mexican multiprotagonist movies have become more visible and have specialized in certain types of stories: life in a small community, usually in Mexico City, be it the remote street of El callejón de los milagros or the big apartment building of Corazones rotos (Broken hearts; 2001); the experience of emigration as seen from an assortment of perspectives in María Novaro’s El jardín del Edén (The Garden of Eden; 1994), in which three women’s lives come together in Tijuana, or in Al otro lado (2004), a film that tells three consecutive stories of children whose parents have emigrated to different countries; the hardships of life for the The Films of Alejandro González Iñárritu | 21 marginal and downtrodden in the big city, whether the members of a dysfunctional family in Crónica de un desayuno or a group of homeless teenagers eking out a living in the rough streets of De la calle; comic/ satirical canvases of contemporary intimate matters like Cilantro y Perejil (Recipies to stay together; 1995), Sexo, pudor y lágrimas, and La última noche; or bittersweet tales of lonely lives that intercross in the big city, like Cosas insignificantes (Insignificant things; 2008).
This time there is no intertitle after the accident, since the film’s third The Films of Alejandro González Iñárritu | 25 intertitle, “El Chivo y Maru,” has already appeared ten minutes earlier to take us back in the film’s chronological timeline to some imprecise moment previous to the crash. Like the four repetitions of the car crash, the three intertitles structure the narrative of Amores perros but do not divide it into three identical and perfectly balanced parts. Each episode has its own timeline and needs to find its particular way to be told—an idiosyncrasy that is reinforced by the visual differences between them.
Alejandro Gonzalez Inarritu by Celestino Deleyto