"The result is a labyrinth of dark rooms where old projectors spit out discarded sequences, with the rough and seductive grain of 35 millimeters. Beams of light flash through the exhibition, inviting the visitor to enter the film, as happened in The Purple Rose of Cairo, only this time we are beckoned into the turbulent Mexico of the end of the last century."
"There are dog fights, blood-red streets, the impossible return of a father who abandoned his daughter, the fading beauty of a sick model, the silence on the still beardless face of Gael Garcia Bernal. And a car accident that pulls it all together. The project started out as Amor y rabia (Love and Rage), but one morning the director, who receives EL PAIS smiling and tanned, woke up with the perfect title in his head."
"You link Amores Perros to the work of Mexican muralists such as Siqueiros and Orozco. Did your film want to be, like those paintings of the interwar period, a great social fresco? Answer. Yes, there was always that part. In Mexico, at that time, only seven films were made a year. You knew that your first movie could be your"
Around 200 miles of discarded 35mm celluloid from Amores Perros were recovered from a university archive and transformed into Sueno Perro, an artistic installation. The project opened at the Prada Foundation in Milan and later moved to LagoAlgo in Mexico City. The installation consists of dark labyrinthine rooms where vintage projectors display rough, seductive film sequences that evoke dog fights, blood‑red streets, abandoned fathers, a sick model’s fading beauty, Gael García Bernal’s silent face, and a unifying car accident. The work began as Amor y rabia and links Amores Perros to Mexican muralist social fresco traditions.
Read at english.elpais.com
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