8 Mayıs 2009 Cuma

Amores Perros

Not by coincidence, the movie Amores Perros takes place in a city, in Mexico City that is built on its colonial roots and it (maybe not obviously but in deep) tells the story of a struggle, struggle of the city people, trying to cope with what the city life offers (imposes). We see the characters trying to reach their higher goals (goals as, getting rich enough to ‘get away’, staying as a supermodel, staying in a relationship or even staying alive). However, this aim of what is distant is everytime disrupted by something much nearer, a simple car crush (or other people’s higher goals, somehow resulting in a car crash.). While everyone tries to guard his own goal, goes after his own interests , the disorder caused by the every struggle affects everyone indirectly. Just like the basic definition of globalization, borders are removed and here is affected by what is there.
As stated before, in the movie, we watch one story which is actually an interpenetration of three stories. In the first one, we witness a suburban story (a small world to became the sample of a globalized world) where everybody wants to get away with the best he can get and pushes the lines for it; The older brother robbes shops or the men of the neighbourhood earn from the dogfight. The leading character, Octavio is first shown as the different character, the one who is outside of this ‘struggle’. However in time, his love for his brother’s wife is revealed and he comes to a point that now he has something to aim, to possess too and he, himself, becomes a part of the struggle. A vicious cycle, a system producing and reproducing its own parts. As he decides to be a part of the system, only for his ‘higher goal’, his dog becomes his labour force.After this, the movie does not change its dark mood and solidifies the fact that eventhough everybody wants to be the big fish, nobody actually manages to win this strive, as the movie will keep on proving throughout the movie. And his biggest struggle, where he is actually, is eaten by the bigger fish, becomes the reason of another story’s another character’s struggle in life.
The second character, Valeria is first shown to us through a TV screen, the image of a famous model is created as the first impression. Also, other than his love affair with a married man, we do not learn anymore personal things about her; she is only identified as a supermodel to us. Thus, we react differently than we would for another woman, when she is badly injured after a car accident and when she looses her one leg. Now, Valeria, herself is nothing more than a labour force. Even she does not perceives herself differently; after the accident, as she slowly moves away from being the famous supermodel, her personality (her identity) and her relationship begins to fall apart. I believe, in this story, the director uses the disappear of Valeria’s dog, Richie, as a symbol of what Valeria is really worth, her identity to be associated. It is something that is under the surface, covered with a thick layer, something that Valeria and her boyfriend desperately seeks, usually in the wrong places (like the huge poster, hanged on the building across the apartment). However, when they finally reach it, it is only after somethings are really lost. When, the boyfriend hugs to Valeria and she finally touches his hands lovingly, neither the supermodel body nor the poster across the street is existed. Again, the system produces its own commodities, and the struggle(s) destroy it.
*bu bir pols&cinema ödevi ve bunun daha bi de başı sonu var, elifsultangizemsavaşa pek teşekkür eder.