The first instalment in Innãritu’s Death triology, or the title Tragedy triology does the story more justice. Each of these films are told in a definite manner. This manner with which it deals, has to be handled extremely meticulously so as not to become too predictable. Amores Perros introduced us to this style of interlocking and interdependent storylines all coming together to a tragedy. Out of all three, Amores is the one that’s best handled. With equally intriguing and dramatic plots, this well planned stroryboard gives the perfect setup to an excellently unfolding drama.
In other films of this manner and style of interdependent storylines, the individual stories are maybe simple to understand or really emotional or emotion driven. Here those stories are themselves a lot with themselves. There’s a lot of things going around in each tale, but they are pretty easy to follow. So you don’t find yourself organising the plot and brainstorming over it every few minutes. It became acclaimed not only because of it’s structure. The ideas with which the story deals with are very raw. Innãritu was hailed for being bold and definitive with his ideas in this film. He wasn’t just bold, his ideas were something the world hadn’t seen before. Even if it had, it was in a more seasoned and mild form. Not in the main plot. Dog fights in full graphic, inter family relationships, the trauma of losing personality and the surprises life gives.
This type of style and story worked extremely well with this one and also with 21 grams, the second instalment to the triology, but was too over the top with Babel, the final one. Still unique and still one of the best films of the century, Amores Perros finds praise and love almost everywhere.