Alejandro González Iñárritu (Contemporary Film Directors)
Format: PDF / Kindle (mobi) / ePub
This in-depth study of Mexican film director Alejandro Gonzalez Inarritu explores his role in moving Mexican filmmaking from a traditional nationalist agenda towards a more global focus. Working in the United States and in Mexico, Inarritu crosses national borders while his movies break the barriers of distribution, production, narration, and style. His features also experiment with transnational identity as characters emigrate and settings change.In studying the international scope of Inarritu's influential films "Amores Perros, 21 Grams, " and "Babel, " Celestino Deleyto and Maria del Mar Azcona trace common themes such as human suffering and redemption, chance, and accidental encounters. The authors also analyze the director's powerful visual style and his consistent use of multiple characters and a fragmented narrative structure. The book concludes with a new interview with Inarritu that touches on the themes and subject matter of his chief works."
defy easy answers and oversimplification. The current popularity of the genre is by no means restricted to U.S. cinema. It has become a transcultural phenomenon (Tröhler), and Mexican cinema is not an exception to the trend. More or less scattered examples, such as Los Olvidados, Reportaje (1953), and Mecánica Nacional, can be found in earlier decades, but since the 1990s, Mexican multiprotagonist movies have become more visible and have specialized in certain types of stories: life in a small
providing a very tangible sense of Mexico City as a place seething with a multitude of simultaneous lives and stories brimming over with fears, hopes, and desires in a constant state of friction and flow. Characters’ needs, plans, and desires clash either in a direct way—as is the case of Octavio and el Jarocho (Gustavo Sánchez Parra), Octavio and Ramiro, or Gustavo (Rodrigo Murray) and Luis (Jorge Salinas)—or in more indirect ones: Octavio’s desperate flight truncates Valeria and Daniel’s high
Iñárritu 159). Yet, given its critical reception and its reputation as portraying a different type of Mexico for contemporary audiences, the way in which it constructs its space may seem paradoxical. As Paul Julian Smith elaborates, none of the architectural distinctiveness of the capital, like its combination of ancient and modern buildings, and certainly none of its tourist attractions are ever visible in the film. In fact, with the exception of a distant view, shaky and blurred, of the Latin
is where the transnational takes place, and the borderland is the space constructed around such exchanges. Noticing the power of the concept to describe a contemporary condition that extends well beyond the material borders between countries, other authors have called attention to the significance of the space of the borderland, with definitions such as “contact zones” (Pratt 6) or “cultural force fields” (Carolyn Porter qtd. in Benito and Manzanas 4). These are spaces in which cultures “edge on
shouldn’t just tolerate difference; we must celebrate it. That school tries to celebrate the multiethnic side of the city by keeping the exact proportion of multiethnicity in its premises that will reflect the ethnic makeup of Los Angeles. It was that particular school that made us decide to stay. We would have never found that type of school in Mexico. It’s also a socially minded school. It has children from all social strata, and that makes for a very real experience for my children. Los