Eric here to discuss cinema’s currently-most-celebrated director, Alejandro Gonzalez Inarritu. As Nathaniel has noted previously, all six of Inarritu’s feature films have gotten Oscar attention in one way or another, and of course much has been written about his being the first filmmaker since 1950 to win the Best Director Oscar two years in a row. He's also just been named to the Time 100 "Icons" List. So there’s no better time than to look back to Inarritu’s first feature, 2000’s Amores Perros, to see where he started and where he’s landed.
Watching Amores Perros (2000) for the first time since its initial release, I was struck by how even at the start of his career, Inarritu picked extraordinarily difficult environments to shoot in. The logistics for Amores Perros can’t have practically been much easier than the ones we are all sick of hearing about with The Revenant. His debut feature has him shooting all over Mexico City (inarguably one of the world’s most chaotic cities), with a colossally large group of actors, and constructing a large-scale and crucially precise car wreck sequence that pays off to all three of the film’s narratives in different ways. Plus throw in a lot of very difficult (and legally tricky) scenes with huge groups of dogs fighting, bleeding, and getting shot. Inarritu’s self-masochism was alive and well from the very start. [More...]