The three segments of the movie contain characters that belong to different social backgrounds. We see, instead, the harsh realities of Mexico City projected on the screen in quick, sharp shots often accompanied by assertive contemporary Latin American rock and rap music. We find no flamboyant skirts or sombrero hats or historic string instruments. Iñárritu does not give us an exotic, exhilarating image of his country. Here, we find a triptych of narratives – (1) Octavio and Susana, (2) Daniel and Valeria and (3) El Chivo and Maru – that are connected through the opening scene of a horrific car accident and also by canine motifs that crop up throughout the film. The film is an example of “hyperlink cinema” – that is to say, it consists of multiple, disparate storylines that converge and collide at some place and point of time. Amores perros (2000), Spanish Poster, Īmores perros is the first instalment in Iñárritu’s “Trilogy of Death”, which continues with 21 Grams (2003) and Babel (2006). In 2008, Amores perros was ranked at number 492 in the British film magazine Empire’s list of “The 500 Greatest Movies of All Time”. It won the Ariel Award for Best Picture (conferred by the Mexican Academy of Film), a BAFTA Award for Best Film Not in the English Language and was nominated for the Academy Award for Best Foreign Language Film (which, that year, went to Ang Lee’s martial arts epic Crouching Tiger, Hidden Dragon). In 2000, the Mexican filmmaker Alejandro González Iñárritu (director of the 2015 Leonardo DiCaprio-starrer The Revenant), made an impressive debut in his home country with a fast-paced, gritty drama-thriller called Amores perros (“Love’s a Bitch”). The film garnered very positive reviews from critics and audiences and was screened at film festivals worldwide.

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