Amores Perros

Drama | In Spanish with English subtitles | 153 minutes


Amores Perros covers three interlinked segments that span the wide range of social classes in Mexico from the wealthy to the homeless. Each segment involves a dog. In the first segment,  “Octavio and Susana,” a car is madly hurtling the streets carrying a bleeding dog called Cofi  belonging to Octavio. Cofi is a fighting dog that was shot after killing a champion dog. The segment ends with a crash at the intersection.  The second segment, “Daniel and Valeria” is about Daniel,  a television producer, who abandons his family to live with Valeria, a beautiful young actress. Valeria’s dog falls into a hole in the floor and disappears under the floorboard. The third segment, “El Chivo and Maru” features a famous Mexican actor, El Chivo. El Chivo,  a revolutionary,  supports himself as a hired killer. One of the main links in the three segments is El Chivo rescuing the wounded Cofi from the crash. El Chivo   decides to rehabilitate  Cofi and prepare him to do more fighting.   

Gael Garcia Bernal (Octavio) / Vanessa Bauche (Susana) / Alvaro Guerrero (Daniel) / Goya Toledo (Valeria) / Emilio Echevarría (El Chivo)
Why Stream This Film?

Each tale signifies the cruelty of humans toward both animals and each other. Amores Perros’s riveting theme is the loyalty of dogs and the  human who are not always depicted in an honorable way.

  • Rotten Tomatoes Score (Critics Consensus): 92%
  • Metacritic Score: 83
  • Academy Awards: Nominated, Best Foreign Language Film
  • BAFTA Awards: Winner, Best Foreign Language Film
  • National Board of Review: Winner, Best Foreign Language Film
Iñárritu’s characters are not the bland, amoral totems of so much modern Hollywood violence, but people with feelings and motives. And it is clear that the lower classes are better at survival than the wealthy, whose confidence comes from their possessions, not their mettle.
Roger Ebert

There’s a seething moral core in AMORES PERROS that uses the canine savagery as an entre to human brutality. By the time the film has slipped into its glorious, redemptive final movement, there’s no mistake: bite for bite, the people are worse, but they can be saved.
Wesley Morris

San Francisco Chronicle

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