The most important aspect of Mexican cinema over the past ten years has been the creation of new cinematographic extras. To understand the trajectory of this interesting phenomenon, we must briefly analyze the main reasons for the success of the best known Mexican film in recent years at the international level. A visit to https://new-kissanime.com makes things perfect.
Successes of Amores perros
One of the great successes of Amores Perros lies in the non-linearity of its narrative time, a success that comes directly from the scenario of Guillermo Arriaga. Amores Perros is the synthesized story of a city that lives, simultaneously, millions of times, through millions of looks. The three stories in the film converge on a singular point: a car accident that shocks everyday life and marks a point of no return for the protagonists of each story. Arriaga transforms a news item into a dramatic event that has three distinct functions: culmination, in the first story; the triggering event, in the second; and the rebound in the third. The result is a multiple vision of a single event.
Documentary on the problem of migration in Mexico, that directly and indirectly affects the inhabitants of both the sending and receiving countries and whose intimate consequences are impossible to quantify.
This brings us to the second great success of the film:
The diversity in the look to which both Arriaga and the impeccable production of González Iñárritu contribute. The first look is at a history of the middle class: the adventure of Octavio (Gael García Bernal), a young man in love with his sister-in-law. It is also the most explosive and, therefore, the most attractive story in the eyes of the Mexican public, the majority of whom are middle class. The second is a story of the wealthy class: Valeria (Goya Toledo), a Spanish supermodel, loses a leg following the accident and finds himself confronted with the fragility of his success. The third story is told from the point of view of the working class: El Chivo (Emilio Echevarría) is a fallen intellectual and ex-guerrilla who have been given the task of murdering a man.
Current Mexican cinema follows the dynamic developed by Amores Perros the culmination of a process of cinematographic maturity, and the starting point for new proposals. On the one hand, the film renounces the constraints of narrative linearity; on the other hand, he ventures into the labyrinths of dramatic diversity. Both aspects take on special significance if one takes into account the recent history of Mexican cinematography.
The 1970s were marked in Mexico, first, by a state cinema whose representatives could be counted on the fingers of one hand (Arturo Ripstein, Felipe Cazals, Jaime Humberto Hermosillo, Nicolás Echevarría) and, later, during the mandate of López Portillo (1976-1982), by the debacle of the cinematographic industry and art, during which only a small number of filmmakers created, by their own means, quality films. As for cinema, the 1980s were, practically, lost years. With the exception of rare cases of quality films, we see a proliferation of films with a low budgets and minimal or no narrative quality. The aesthetic treatments of the image drown in a pool of social indifference towards cinema.