Regie:
Alejandro González IñárrituDrehbuch:
Guillermo ArriagaKamera:
Rodrigo PrietoMusik:
Gustavo SantaolallaBesetzung:
Emilio Echevarría, Gael García Bernal, Goya Toledo, Álvaro Guerrero, Vanessa Bauche, Humberto Busto, Rosa María Bianchi, Adriana Barraza (mehr)Streaming (2)
Inhalte(1)
Ein verhängnisvoller Autounfall in der pulsierenden Metropole Mexico City. Drei Leben prallen aufeinander, um die bestialische Seite der menschlichen Natur aufzudecken. Da ist Octavio (Garcia Bernal), der in die Welt illegaler Hundekämpfe gerät, um mit dem dort verdienten Geld und der Frau seines kriminellen Bruders abhauen zu können. Der erfolgreiche Verleger Daniel (Alvaro Guerrero) hingegen verlässt seine Frau und zwei Töchter, um mit dem Supermodel Valeria (Goya Toledo) und ihrem Schoßhündchen zusammen zu leben. Und schließlich ist da noch der Obdachlose „El Chivo“ (Emilio Echevarría), einst ein Revolutionär, der nun als Auftragsmörder mit einem Rudel wilder Hunde durch die Straßen zieht und auf Erlösung hofft. (polyfilm)
(mehr)Kritiken (9)
A debut that, despite having a few errors, as a whole is an excellent affair and mainly shows great promise for the future. If it weren’t for certain inconsistencies in the characters’ fates and no rising tension in the story, there isn’t much to criticize. In acting terms perfect, the screenplay marvelous and the director brilliant. Slightly disappointing that Iñárritu gives you the strongest moments right at the very beginning of the picture, but it doesn’t reduce the huge quality of Amores Perros overall.
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Ein recht anständiger Film, eine Art Alternative zu Pulp Fiction. Ich wiederhole mich wahrscheinlich oft, aber ich kann nicht anders. Ich stimme mit dem überein, was viele User hier sagen, nämlich dass der Film in der ersten Stunde oder so aufbaut und dann seinen Charme, seine Spannung und seine Emotionen wie die Titanic auf den Grund des Meeres sinken lässt. Er versucht, am Ende erneut Luft zu schöpfen, was ihm nicht wirklich gelingt. Von den Geschichten war die schwächste wahrscheinlich die mittlere mit dem unausstehlichen Modell und die beste war, wie gesagt, die erste Geschichte (Hundekampf). Anständig als Ganzes, wie auch die Verflechtung und Kontinuität der Geschichten. Wenn ich das am Ende addiere und subtrahiere, komme ich auf etwa 70-75 %. Die fehlenden Prozent beziehen sich auf die zweite Geschichte und teilweise auch auf die dritte. Aber wie auch immer, ich empfehle diesen Film zum Ansehen und Nachdenken.
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A nasty, dirty, violent and depressive film, just as I like them. The plot is not as complex as the director’s second film (21 Grams), but it’s a lot more effective nonetheless. Amores Perros consists of three intertwined stories, each with a completely different atmosphere, which together deliver a holistic and very intense emotional load. Very recommended.
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I consider the first story to be an example of perfect filmmaking craftsmanship and I considered Alejandro González Iñárritu a genius while I watched it, someone whom I would confidently entrust any subject because his visual ideas and alternation of contrasts are absolutely flawless. My enthusiasm faded after the remaining two stories, which are not bad, just not as disturbing or captivating for the viewer's senses as the first one, and instead focus on gradual psychological development of the characters. Unfortunately, most of the time it's a bit too gradual, and almost tedious.
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Just like Denmark has Lars Von Trier and Sweden has Lasse Hallström, Mexican cinema also has its number one: Alejandro Gonzalez Iñárritu. He has maintained his directorial style even in Hollywood, and that was the key to his success. But here it bothered me with an excessive running time. The technical execution, on the other hand, it's a blast again.
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Iñárritu has directing down to a science again, interweaving a trio of intricate stories with such dexterity as if he's been doing nothing but running with a camera through the urban jungle since birth. I can only point out to two big weaknesses in this outing, namely that he plays too much for effect in some places, giving up his captivating authenticity as a result, and then things get quite boring at the end and, due to the exorbitant runtime, there’s nothing that would break the viewer out of their lethargy. I liked the first two stories and generally enjoyed how beautifully everything was working out for Alejandro, but on the other hand I was very disappointed that the most interesting passage about the hitman went completely to waste, as did the attempt at emotional softening at the end. It's a very good film no doubt, probably worth the 150 minutes, but nothing groundbreaking or outright unusual. At least it showed what an untouchable ruler Pulp Fiction is in this circle of films. 75%
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I’ve grown suspiciously fond of the type of films where various individual storylines intersect at one point. I enjoyed the film even twenty years after its creation, not even noticing its terrifyingly long runtime. I wasn't bored at all, only my original excitement was replaced by a much more sober approach (well, technically, I was sober even the first time I saw it).
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A great film that initially seems like it couldn't be about love at all, but in reality, it's love that drives all the characters into situations that are very tragic for them, or at least for someone else. An incredibly powerful film that, even after years, shows me that those first impressions don't fade but keep repeating.
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The first and most personal message from the pen of Guillermo Arriaga and the perspective of A.G. Iñárritu. The individual stories are captured and presented in a manner so tremendously experienced and substantive that together they form something quite extraordinary. They are an incredibly true and painful confession about the transience of life, happiness, love, joy, confidence, trust... The viewer has the opportunity to watch Iñárritu's mosaic toy with the unbalanced Octavio, who is desperately in love with his brother's wife and begins to make money for their future together in a less than humane and honest way, which he ends up paying for badly, or in another part, the complete emotional and physical deformation of a woman who is forced to reassess her previous priorities and, eventually, her seemingly perfect relationship with a married man, which is put to a very severe test. In the last piece of the mosaic, we follow the efforts of an old, unhappy, and emotionally empty man to rebuild his relationship with his daughter, while at the same time re-evaluating his previous life and desperately trying to make amends and reconcile two brothers who wanted to have each other murdered. Money, hatred, calculation, and desperation figure in everything here. Iñárritu tells a beautiful but ruthless and hard-hitting story of human emotion, love, and betrayal. Amores Perros is, for me, one of the most sophisticated and satisfying dramas ever made.
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