Alejandro González Iñárritu
Alejandro González Iñárritu, (born August 15, 1963, Mexico City, Mexico), director and producer whose movies—which often featured interconnected stories and a nonlinear narrative—placed him at the forefront of the Mexican film renaissance in the early 21st century.
González Iñárritu was expelled from school at age 16. His first job, as a commercial sailor, persuaded him to complete his education at the Ibero-American University, Mexico City. In 1984 González Iñárritu became a popular disc jockey at Mexico’s top-rated radio station. He later became the youngest producer for Televisa, Mexico’s premiere TV company. After leaving Televisa, he founded (1991) Zeta Film and moved into advertising as a writer and director of television commercials.
From 1988 to 1990 González Iñárritu concentrated also on his first love—music—and wrote the scores for six Mexican films. During this time he became acquainted with Mexican novelist and screenwriter Guillermo Arriaga, and the two began a long and fruitful collaboration. They continued to correspond and develop ideas when González Iñárritu moved to the United States to study filmmaking, and they transformed one of their early ideas—about three interconnected stories set in a grim yet realistic Mexico City—into the screenplay for González Iñárritu’s feature directorial debut, Amores perros (2000). The movie was an international success; it won awards at the Cannes and Chicago film festivals, garnered 10 Mexican Ariel Awards, and earned an Oscar nomination for best foreign-language film.
In 2001 González Iñárritu directed short film Powder Keg, an entry in a series of extended BMW commercials made by A-list directors. The next year González Iñárritu contributed a film titled “Mexico” to the episodic short-film collaboration 11′09″01—September 11, a collection of reflections on the September 11 terrorist attacks in the United States that were all limited to 11-minute 9-second running times and were shot in a single frame.
For their next feature film, 21 Grams (2003), González Iñárritu and Arriaga ventured into English-language cinema. Their next collaboration work was Babel (2006), featuring an international cast headlined by Brad Pitt and Cate Blanchett. The multilingual drama employed a mosaic structure and completed trilogy. For work on Babel, González Iñárritu received an Academy Award nomination as best director.
After a falling out with Arriaga, he directed and co-wrote the Spanish-language film Biutiful (2010), about a Barcelona criminal (played by Javier Bardem) raising two children while dying of cancer. González Iñárritu then co-wrote and directed film Birdman (2014 English-language film), a comedy about a former film star (Michael Keaton) attempting to mount a comeback by appearing on Broadway. He won Academy Awards for best director and best screenplay for his work on that film. The Revenant (2015), based on a true story, chronicles the travails of Hugh Glass, a fur trapper (Leonardo DiCaprio). González Iñárritu won an Oscar for his direction of the drama. In 2017 he debuted a virtual-reality project, Carne y arena (“Flesh and Sand”), about the experience of desperate migrants; he received an Academy Award for special achievement.
https://www.britannica.com/biography/Alejandro-Gonzalez-Inarritu
The movie that brought DiCaprio to Oscar: THE REVENANT
‘The Revenant’ is a film that is both an epic story and an intimate biography, which covers a time in American history where the West was not yet settled. The film is also a Western it shows the life of a frontiersman who was in danger not only from nature but also hostile animals and native tribes who were lurking just behind the shadows of the mountains and the forestry that surrounded them.
https://benjweinberg.com/2019/01/19/the-revenant-film-review-and-analysis/
BİRDMAN
Birdman is about a journey of crisis and transformation in which aging actor Riggin questions the true worth of his life, while battling colleagues, family, and friends who threaten his vision. But, mostly, he is battling his own powerful inner demons.
Riggin ’s despair over the meaninglessness of the choices he has made in life that include superficial acting roles, serial infidelity and neglect of his daughter cause an existential crisis that is what calls a despair of consciousness; a spiritual sickness unto death in which the human being turns against oneself as meaning-maker and knows he has done so. This awareness is more than Riggin can bear. His psyche is crashing, and he’s on the brink of suicide.
https://www.psychologytoday.com/us/blog/get-hardy/201502/film-analysis-birdman
AMEROS PERROS
The plot of the film. Octavio (Gael Garcia Bernal) is an audacious, soulful young man who tries to sawe his battered sister-in-law Susana (Vanessa Bauche). In a desperate attempt to rescue her Octavio offers up his rottweiler to the barbarous world of back alley dogfights. Wealthy middle-aged executive Daniel (Alvaro Guerrero) deserts his family for supermodel Valeria (Goya Toledo), only ther looks and career shattered in a sudden car accident. Rounding out the triptych is El Chivo (Emilio Echevarria), an older homeless person and former communist guerrilla who left his own family long ago. Recently released from prison, he attends to a pack of stray dogs and works reluctantly as a hired killer for the same cop who put him to preson.
The frantic pace, skewed time structure and plenteous blood-letting will remind Tarantino, but the grave distinction being that Iñárritu does not go in for stylized violence. Hi depicts the urban jungle. Rather, Amores Perros concerns itself with the everyday navigation of life’s traps, those which lay in wait with jaws poised to irrevocably alter our false sense of security in one fateful instant. If misfortune clamps down with steel teeth, escape may require chewing off a foot. http://sensesofcinema.com/2001/current-releases/amores/
Alejandro González Iñárritu, (born August 15, 1963, Mexico City, Mexico), director and producer whose movies—which often featured interconnected stories and a nonlinear narrative—placed him at the forefront of the Mexican film renaissance in the early 21st century.
González Iñárritu was expelled from school at age 16. His first job, as a commercial sailor, persuaded him to complete his education at the Ibero-American University, Mexico City. In 1984 González Iñárritu became a popular disc jockey at Mexico’s top-rated radio station. He later became the youngest producer for Televisa, Mexico’s premiere TV company. After leaving Televisa, he founded (1991) Zeta Film and moved into advertising as a writer and director of television commercials.
From 1988 to 1990 González Iñárritu concentrated also on his first love—music—and wrote the scores for six Mexican films. During this time he became acquainted with Mexican novelist and screenwriter Guillermo Arriaga, and the two began a long and fruitful collaboration. They continued to correspond and develop ideas when González Iñárritu moved to the United States to study filmmaking, and they transformed one of their early ideas—about three interconnected stories set in a grim yet realistic Mexico City—into the screenplay for González Iñárritu’s feature directorial debut, Amores perros (2000). The movie was an international success; it won awards at the Cannes and Chicago film festivals, garnered 10 Mexican Ariel Awards, and earned an Oscar nomination for best foreign-language film.
In 2001 González Iñárritu directed short film Powder Keg, an entry in a series of extended BMW commercials made by A-list directors. The next year González Iñárritu contributed a film titled “Mexico” to the episodic short-film collaboration 11′09″01—September 11, a collection of reflections on the September 11 terrorist attacks in the United States that were all limited to 11-minute 9-second running times and were shot in a single frame.
For their next feature film, 21 Grams (2003), González Iñárritu and Arriaga ventured into English-language cinema. Their next collaboration work was Babel (2006), featuring an international cast headlined by Brad Pitt and Cate Blanchett. The multilingual drama employed a mosaic structure and completed trilogy. For work on Babel, González Iñárritu received an Academy Award nomination as best director.
After a falling out with Arriaga, he directed and co-wrote the Spanish-language film Biutiful (2010), about a Barcelona criminal (played by Javier Bardem) raising two children while dying of cancer. González Iñárritu then co-wrote and directed film Birdman (2014 English-language film), a comedy about a former film star (Michael Keaton) attempting to mount a comeback by appearing on Broadway. He won Academy Awards for best director and best screenplay for his work on that film. The Revenant (2015), based on a true story, chronicles the travails of Hugh Glass, a fur trapper (Leonardo DiCaprio). González Iñárritu won an Oscar for his direction of the drama. In 2017 he debuted a virtual-reality project, Carne y arena (“Flesh and Sand”), about the experience of desperate migrants; he received an Academy Award for special achievement.
https://www.britannica.com/biography/Alejandro-Gonzalez-Inarritu
The movie that brought DiCaprio to Oscar: THE REVENANT
‘The Revenant’ is a film that is both an epic story and an intimate biography, which covers a time in American history where the West was not yet settled. The film is also a Western it shows the life of a frontiersman who was in danger not only from nature but also hostile animals and native tribes who were lurking just behind the shadows of the mountains and the forestry that surrounded them.
https://benjweinberg.com/2019/01/19/the-revenant-film-review-and-analysis/
BİRDMAN
Birdman is about a journey of crisis and transformation in which aging actor Riggin questions the true worth of his life, while battling colleagues, family, and friends who threaten his vision. But, mostly, he is battling his own powerful inner demons.
Riggin ’s despair over the meaninglessness of the choices he has made in life that include superficial acting roles, serial infidelity and neglect of his daughter cause an existential crisis that is what calls a despair of consciousness; a spiritual sickness unto death in which the human being turns against oneself as meaning-maker and knows he has done so. This awareness is more than Riggin can bear. His psyche is crashing, and he’s on the brink of suicide.
https://www.psychologytoday.com/us/blog/get-hardy/201502/film-analysis-birdman
AMEROS PERROS
The plot of the film. Octavio (Gael Garcia Bernal) is an audacious, soulful young man who tries to sawe his battered sister-in-law Susana (Vanessa Bauche). In a desperate attempt to rescue her Octavio offers up his rottweiler to the barbarous world of back alley dogfights. Wealthy middle-aged executive Daniel (Alvaro Guerrero) deserts his family for supermodel Valeria (Goya Toledo), only ther looks and career shattered in a sudden car accident. Rounding out the triptych is El Chivo (Emilio Echevarria), an older homeless person and former communist guerrilla who left his own family long ago. Recently released from prison, he attends to a pack of stray dogs and works reluctantly as a hired killer for the same cop who put him to preson.
The frantic pace, skewed time structure and plenteous blood-letting will remind Tarantino, but the grave distinction being that Iñárritu does not go in for stylized violence. Hi depicts the urban jungle. Rather, Amores Perros concerns itself with the everyday navigation of life’s traps, those which lay in wait with jaws poised to irrevocably alter our false sense of security in one fateful instant. If misfortune clamps down with steel teeth, escape may require chewing off a foot. http://sensesofcinema.com/2001/current-releases/amores/