By Celestino Deleyto
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Extra resources for Alejandro Gonzalez Inarritu
Looming over the streets of Mexico City, Valeria’s sensuous and glamorous image contrasts with the confined space and the daily drags of Daniel’s family life and represents a more promising future. After the accident, the privileged view of the billboard from the couple’s new apartment becomes a painful reminder of the plenitude and allure of the recent past, but also a ray of hope that things may soon be back to the way they were. Later in the film, when Valeria returns home from her second visit to the hospital, she finds her image gone and the billboard for rent.
The film does not return to the accident merely to reiterate a familiar moment but to add information and an additional perspective to the action. The first time the accident is shown, we only see two anxious young men on the run with a wounded dog in the back seat crashing into an anonymous woman. With the second repetition, we find out the reasons for their frenzied race. When the film returns to the accident for the third time, it is to tell who the fair-haired woman is The Films of Alejandro González Iñárritu | 29 and the circumstances that led her to be driving through that spot at that specific moment.
It is an expression of the mask that is permanently worn and always in danger of being torn off by a sudden explosion of intimacy (Paz 200). Paz therefore finds in the essential solitude of the national character the source of what from outside may be perceived as a cult of the excessive that The Films of Alejandro González Iñárritu | 13 pervades all sorts of social and cultural manifestations. The history of the country’s cinema is one of those manifestations that is characterized by a rhetoric of excess.
Alejandro Gonzalez Inarritu by Celestino Deleyto