This sudden efflorescence was due in part to huge changes in Mexico’s film economy. Indeed, this intense triptych of three differently tragic plotlines, united by one bloody car crash in the heart of Mexico City, introduced an armada of new talents who have had prodigious impacts on 21st-century cinema: director and co-editor Alejandro González Iñárritu ( Babel, Birdman), cinematographer Rodrigo Prieto ( Frida, The Irishman), screenwriter Guillermo Arriaga ( The Three Burials of Melquiades Estrada), composer Gustavo Santaolalla ( Brokeback Mountain, The Motorcycle Diaries), and actor Gael García Bernal ( Y tu mamá también, Bad Education). Arriving at the dawn of the millennium, Amores perros (2000) remains one of the most audacious and accomplished debut features of our tumultuous century.
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