Wound and Hemorrhage of the Cinematographic Story in Alejandro González Iñarritu's Trilogy: Amores Perros (2000), 21 grams (2003) and Babel (2006)
DOI:
https://doi.org/10.37130/DrHvol5iss1pp15-29Keywords:
story, history, violence, Iñarritu, Mexican filmAbstract
The purpose of this essay is to analyze Iñarritu's trilogy formed by Amores Perros (Love's a bitch, 2000), 21 grams (21 grams, 2003) and Babel (2006), under the following concepts: accident, wound and hemorrhage. It is an exemplary work in narrative terms, made with Federico Arriaga as screenwriter. This trilogy deserves special attention, not only because it is a manifesto of the broken and helical narrative, but also because it represents a reflection of the violence that suddenly appeared in the Mexico of those years. In narratological terms, Iñarritu uses a strategy based on dynamic fragmentation, a mixture of impressionism, futurism and Kurt Schwitters' Dadaism, which is animated by a futuristic helical structure.
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