With a triptych structure navigating Mexico City’s contrasting social strata via multiple characters, “Amores Perros” sunk its sharp dramatic teeth into audiences and critics alike, and singlehandedly uplifted a group of actors and artisans who today are among Latin America’s most successful creators. Made at a time when the country’s filmic output was scarce, this classic of the Nuevo Cine Mexicano - a period considered the rebirth of Mexican cinema following an extensive barren era - endures two decades on. But before sweeping Hollywood awards and working with international stars, the multi-Oscar-winning director launched his career in 2000 with a Mexican masterpiece, “Amores Perros.” I’m a rather bad amateur enthusiast when it comes to playing music.”įrom those failed aspirations, cinema gained an ambitious visionary whose boundary-pushing works like “The Revenant,” “Birdman” and “Babel” have cemented Iñárritu’s place among the greats. “Unfortunately I have a great ear but very clumsy hands. “I like music more than I like cinema, I must admit,” the Mexican auteur says by phone from a ranch near Mexico City. This truth, though surprising coming from one of the world’s most acclaimed directors, explains in part his storytelling sensibilities and his exhaustive attentiveness to technical and narrative minutiae - a trait many of his longtime colleagues praise for the results it yields on screen. Given the choice, Alejandro González Iñárritu would have picked music over film as his preferred outlet of artistic expression.
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