By Celestino Deleyto
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Extra info for Alejandro Gonzalez Inarritu
Many of these films can be inscribed within the rhetoric of excess described above, but in other cases mexicanidad must be found elsewhere. The wind of change was strongly felt in Mexico at the turn of the twenty-first century, and Amores perros encapsulated this feeling. Paul The Films of Alejandro González Iñárritu | 17 Julian Smith has documented this historical dimension and has argued that, for all of the director’s and scriptwriter’s rejection of past national cinematic models, the film curiously fits Ramírez Berg’s description of classical Mexican cinema (Amores 37).
This feeling is compounded by the routine presence of police corruption: the ex-guerrilla-fighter-turned-hired-assassin and the corrupt policeman are friends and even business associates. This strand of the plot also continues another well-established tradition of the country’s cinema: the melodramatic vilification of the affluent classes. The polarized contrast between the poor and the rich, also a staple of classical Mexican cinema, is here reflected in the abrupt contrast between the first two narrative segments.
A relatively detailed description of the initial sequence will give an idea of the film’s approach to the representation of time. 21 Grams opens with a shot of a man and a woman in bed. The woman sleeps peacefully as the man, sitting next to her, gazes down and smokes a cigarette. A bright white light comes in through the window and merges with the white sheets, instilling a sense of repose and a glow only disrupted by the male character’s concerned look and the almost imperceptible shaking of the handheld camera, which seems to accompany his slow breathing and deep meditations.
Alejandro Gonzalez Inarritu by Celestino Deleyto