Amores Perros (Alejandro Gonzales Inarritu, 2000)

Amores Perros (2000)

(love’s A bitch) Alejandro Gonzales Inarittu

(First feature prior experience in advertising and pop videos)

Non linear narrative (urban social realism)

Main themes

Absent father figures

Poverty

Abusive relationships

Family discord and strife

Alienation

Poverty

Crime

Infidelity

Betrayal

Physical collapse as a metaphor for personality disintegration

The impersonal nature of urban landscapes

Alcoholism

Violence

Commodity fetishism

Money

Dogs

Violence of Capital (Marazzi)

Free market capitalism and its deprivations –

Allegory of “wild” capitalism

The owner of the dog-fighting business runs his firm according to strict and sound neo-liberal, market-oriented practice. “Esta es mi empresa,” he explains to the two new lads, “no pago impuestos, no hay huelgas ni sindicatos, puro billete limpio” (0:25:50) (“This is my firm, I don’t pay taxes, there are no strikes or unions. Pure, clean cash”).  As an example of no-barriers private enterprise, of “flexible” accumulation operating with a labour force battered into passive submission, I am sure that the IMF would no-doubt approve most highly.

systemic violence of capitalism is disavowed or masked behind the screen of glossy images, beautified poses, and image status-symbols.

‘Space’ is created out of the vast intricacies, the incredible complexities, of the interlocking and the non-interlocking, and the networks of relations at every scale from local to global. […] There is no choice between flow (time) and a flat surface of instantaneous relations (space). [… S]pace is by its very nature full of power and symbolism, a complex web of relations of domination and subordination, of solidarity and co-operation. (Massey 1992: 265)

  • This is a point I cannot make more succinctly than Baudrillard in his famous essay on “Simulacra and Simulations”:

this is what must be said at all costs, for this is what everyone is concerned to conceal, this dissimulation masking […] a moral panic as we approach the primal (mise en) scène of capital: its instantaneous cruelty, its incomprehensible ferocity, its fundamental immorality — this is what is scandalous. (Baudrillard 1988 (1981): 173)

Octavio y Susana

Daniel & Valeria

El Chivu y Maru

 

http://www.latin-american.cam.ac.uk/culture/violence/violence6.html

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