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Extra info for Alejandro Gonzalez Inarritu
Random chance features in them not only as a triggering device that makes separate lives affect one another in unexpected ways but as a major thematic element looming over the films’ fragmented narrative pattern. Rather than simply a vessel for the story, the form becomes an intrinsic part of it. However closely linked form is with the content of the particular stories in Iñárritu’s films, the human mosaics assembled by these three movies need to be placed in the context of the experimentation with multiple characters and narrative lines that took place at the end of the twentieth century and turned what had until then been just an alternative storytelling pattern into a proper genre with its own thematic concerns and narrative and visual conventions.
He hurries to the spot and leaves shortly after with Octavio’s wallet and the seriously wounded Cofi. This time there is no intertitle after the accident, since the film’s third The Films of Alejandro González Iñárritu | 25 intertitle, “El Chivo y Maru,” has already appeared ten minutes earlier to take us back in the film’s chronological timeline to some imprecise moment previous to the crash. Like the four repetitions of the car crash, the three intertitles structure the narrative of Amores perros but do not divide it into three identical and perfectly balanced parts.
In cinematic terms, the transnationality of Amores perros can be seen most clearly in its use of the new genre that the filmmaker’s career as a whole has come to encapsulate at the outset of the twenty-first century: the multiprotagonist film. Of Middles, Beginnings, and Endings At the beginning of Río Escondido, Rosaura Salazar, a school teacher with a heart condition, arrives at the Palacio Nacional in Mexico City. As she ascends the majestic staircase of the presidential building, she looks in wonder at the history of her country on a mural painted by Die go Rivera.