"I wanted to make a film about Mexico City, where there are millions of dogs. Gonzalez Inarritu insists that context is very much a mitigating factor, and that the dogfighting theme is part of an overall panorama of life in his home town. The first story has a group of poverty-level kids getting involved in the illicit and extremely violent dog-fighting scene the second is a macabre Tale of the Unexpected about a supermodel, a luxury apartment and an ill-fated lapdog and the third features an itinerant hitman who moves through different levels of city society, bringing all the strands together.
PELICULA DE AMORES PERROS MOVIE
The movie is an intricately plotted portmanteau of three stories, linked by a car crash and told at car-crash speed. They are part of the motion of the story and the characters." But if they wanted me to take out the dogfights, that would be impossible. While the subject matter could be a serious obstacle to British distribution, Gonzalez Inarritu is open to suggestions about cuts. The British Board of Film Classification is rigorous about films that show or even suggest animal violence, saying: "Baiting animals is a no-no as far as we are concerned, no matter how good the film is." There will certainly be more of a problem here. In Mexico, where the film has been a big hit, the press hardly commented on the animal cruelty question. The film's animal trainer is very respected in animal welfare circles, Gonzalez Inarritu says - "and he used his own dogs, so he cared about them". The dogs were wearing plastic muzzles - apparently clearly visible if you freeze-frame the film on video - while the ones that appear dead and bloodied were made up and drugged for 20 minutes at a time. Despite realistic-looking scenes in which dogs leap at each other, fangs apparently primed to bite, a lot was done in the shooting and editing - "the same way I'd avoid hurting somebody in a car accident". The film's director, Alejandro Gonzalez Inarritu, insists he was scrupulous about not harming any animals during filming. Following its British premiere at Edinburgh, Amores Perros (Love's a Bitch) is about to be picked up by a major UK distributor for release later this year.
That debate could now become more than academic. Arguing that "context is no defence", the society declared: "Anything which involves goading or cruelty to animals is unacceptable." N o sooner had Amores Perros won a prize at the Cannes film festival than the RSPCA rushed to attack its bloody scenes of dogfighting.
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