Alejandro G. Iñárritu resurrects lost footage from ‘Amores Perros’ in new LACMA installation

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Just before I drift off to sleep, I’m plunged into darkness, then led into a dreamlike space by acclaimed filmmaker Alejandro González Iñárritu. Light and shadow dance with the sounds of Mexico City, creating a truly immersive and unforgettable cinematic journey.

Inside the Los Angeles County Museum of Art, director Iñárritu is showing me his new exhibit, “Sueño Perro.” It’s a sensory experience inspired by his first film, “Amores Perros,” which is celebrating its 25th anniversary. The installation itself is minimal – just six film projectors and the actual film reels. The unreleased footage is projected onto screens of various sizes, and the images aren’t meant to tell a story; they simply exist as visual moments.

Iñárritu explains that he enjoys creating installations because it feels collaborative and fun, like playing a game with friends. He also finds it freeing, as he doesn’t have to worry about the commercial aspects of attracting an audience.

Before coming to LACMA, Alejandro G. Iñárritu’s installation, “Sueño Perro,” captivated viewers in both Milan and Mexico City. LACMA had previously presented Iñárritu’s powerful virtual reality experience, “Carne y Arena,” which let visitors experience the journey of someone crossing the U.S.-Mexico border on foot.

In Milan and Mexico City, the installation “Sueño Perro” filled complex, multi-room spaces. The version in Los Angeles, however, is a more focused, intense experience, according to director Alejandro Iñárritu. Once you enter, you’re immediately immersed in a constant stream of images and sound. He calls the light from the projectors beautiful “light sculptures.”

Interestingly, he’s observed that people treat these beams of light with almost religious respect, carefully avoiding crossing them. However, Iñarritu actually wants people to interrupt the light, believing their shadows would add something special to the image.

The recently discovered footage consists of scenes that didn’t appear in the final version of “Amores Perros,” a raw and intense film that weaves together three stories across different social classes in the bustling, chaotic Mexico City around the year 2000. Director Iñárritu found out in 2018 that all the original, unedited footage from the film – which is usually discarded – had been carefully saved at Mexico’s National University (UNAM).

He described it as flipping through an old photo album, one that hadn’t been touched in decades and carried the scent of time. The years that had passed actually made the memories feel beautifully nostalgic.

The album was a significant undertaking. Director Iñárritu remembers that he and cinematographer Rodrigo Prieto filmed a huge amount of material – almost a million feet of film.

Iñárritu describes discarded placental tissue after birth as a metaphor for his work. He explains that just like that seemingly lifeless material, which still contains DNA from a living being, his project has found a new existence. He was surprised to discover that something considered forgotten or dead could be revitalized through light and given a new purpose.

“Amores Perros,” nominated for an Academy Award for Best International Film, was a groundbreaking movie for Mexico. It gained attention from viewers worldwide with its bold and realistic depiction of the country’s problems, told through compelling human stories.

Iñárritu fondly recalls Gael García Bernal, the star of “Amores Perros,” noting his youthfulness in a displayed image. Bernal, who was 19 at the time, launched his successful film career with that very movie.

Gael García Bernal’s performance in “Cassandro” showcases his impressive range as an actor. He first gained recognition in Alejandro González Iñárritu’s “Amores Perros” and has consistently delivered acclaimed performances both in Mexico and internationally.

During the film, three of the six projectors suddenly stopped working, while the remaining three displayed the crucial car crash that ties the three storylines together. Director Iñárritu and cinematographer Prieto filmed this dramatic accident using nine different cameras. Watching all nine perspectives in the “Sueño Perro” sequence offers a fresh appreciation for the complexity of staging such a powerful moment.

This film demonstrates that “Amores Perros” was made by a director in his mid-30s who took a huge risk, not knowing if he’d have another chance to direct.

Iñárritu jokes that while he’s grown as a director, he’s still fundamentally the same person. He also explains, with a laugh, that he couldn’t recreate one of his previous films today. The sheer number of shots, the complex setups, and the intense energy required for each one would be too much.

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Alejandro G.

It’s been amazing to see Iñárritu and Guillermo Arriaga, the writer behind some of their biggest films like ‘Amores Perros’ and ‘Babel,’ repair their friendship. They hadn’t been close for a long time, but with the film’s anniversary approaching, and time passing, they were able to reconnect. I was so happy to see them publicly reconcile at an event in Mexico City last year – it felt like things were finally complete.

Iñárritu says it was crucial for him to move past the conflict. He valued his friendship with the other person, especially because their children were close, and he genuinely missed him as a friend. He’s come to realize that holding onto anger and resentment is ultimately harmful, like carrying a sickness within yourself and refusing to heal.

Most film retrospectives showcase props or costumes from the movie itself, but director Iñárritu chose a different path. He originally considered displaying the damaged car driven by García Bernal’s character – a black Ford – as the centerpiece of the exhibit. However, Michael Govan, the CEO of LACMA, convinced him to stick with a more conceptual approach.

Michael was excited about using projectors – the idea of light and how it connects to memory. He smartly pointed out that physical objects might be a distraction, explaining that the artwork was delicate and best suited to something less concrete. I agreed, and decided to create an exhibition without any physical pieces, focusing instead on concepts like light and time, which represent both similarity and the intangible.

Iñárritu feels a deep sadness when he encounters props and costumes from his films – what he calls the “archaeological remains of a film.” He compares seeing these items to looking at preserved butterflies, beautiful but devoid of life. He explains that once these objects are no longer being used on set, they lose their purpose and vitality, becoming like lifeless skeletons of their former selves.

Alejandro G. Iñárritu believes that watching “Sueno Perro” might inspire a new generation, accustomed to streaming movies on phones and tablets, to appreciate the history of filmmaking – specifically, the experience of watching movies on film. He hopes it will help them connect with cinema in a more fundamental way.

He explains that as humans, we learn and understand using our whole bodies, but digital screens limit us to just thinking. He designed the installation to feel like a safe, enclosed space – like a womb or cave. He hopes the soft, moving light from the projectors will remind visitors of early humans gathering around a fire to share stories.

“Sueño Perro” doesn’t rely on traditional dialogue or music. Instead, it immerses the audience in the real sounds of Mexico City – everything from street sellers to parades – captured over time and brought to Los Angeles by sound designer Martín Hernández, a long-time collaborator with director Iñárritu, having worked on all his films since “Amores Perros.” The soundscape also acts as a snapshot of the city, showing how much it has changed and developed since the time of “Amores Perros.”

He says watching the film still brings the city back to him, but the fashion and cars from that time are hilarious to see now. It feels like looking at the Stone Age, making him realize how much time has passed. He definitely remembers the city being very different back then.

When “Amores Perros” came out, I was still living in Mexico City, then called Distrito Federal. Back then, many international tourists were afraid to visit because of kidnapping concerns. It feels strange now to see Mexico City become a popular destination for travelers, especially ‘digital nomads’ from the U.S. and other countries.

Alejandro Iñárritu notes that Americans have often looked down on Mexico, but are now discovering its rich culture. He says this realization is leading them to understand that their previous attitudes were based on inaccurate and stereotypical portrayals of Mexicans – often reduced to a caricature, like being depicted solely wearing sombreros – perpetuated by misinformation.

According to Iñárritu, what makes Mexico City – and Mexico as a whole – so captivating is the unique way its people see the world and deal with life’s challenges.

He believes no other country possesses the same vibrant energy. Despite significant issues like widespread violence and corruption, the people maintain a remarkable joy and liveliness that’s rare to find anywhere else.

Iñárritu remembers that his film “Amores Perros” upset those in power by honestly portraying the deep-rooted problems of his home country.

According to him, the Mexican government disliked the film so much that when it won awards at international festivals, Mexican ambassadors and diplomats refused to attend the celebrations.

Iñárritu remembers people criticizing his film, saying it didn’t accurately portray Mexico and focused too much on violence. He found this frustrating, saying it was as if they thought he was in charge of promoting the country as a tourist destination.

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Director Alejandro G.

Alejandro G. Iñárritu is currently busy with several projects. He’s showcasing the latest location of his art installation, “Sueño Perro,” while also finishing up his new movie, “Digger,” which stars Tom Cruise. In addition, he’s developing a project to celebrate the work of Mexican American artist Judy Baca.

Judith Baca is famous for her massive mural, “The Great Wall of Los Angeles,” which stretches over half a mile and tells the story of California’s history. Filmmaker Alejandro G. Iñárritu and cinematographer Emmanuel Lubezki created a short film about the mural that will be shown at Walt Disney Concert Hall on March 7th. The screening will be part of a special concert event led by Gustavo Dudamel and Gabriela Ortiz, and will also feature music from several other composers.

I envision a major public art installation in Los Angeles celebrating Judy, a pioneering Chicana artist whose work brilliantly captured the essence of California long before her time. My hope is that it will become a must-see destination, something people will consider essential when visiting the city – a true landmark.

To continue celebrating the film “Amores Perros,” MACK has released a new book filled with essays, photos from the set, and storyboards. A special double vinyl record is also now available, featuring Gustavo Santaolalla’s music from the film alongside songs by influential Mexican rock bands like Control Machete and Café Tacvba.

It had been years since Iñárritu watched his film in a cinema. But seeing it again at the Cannes Film Festival last year, he was happy to find it still had a strong impact.

I was really surprised by how well the film still stands up today, and it’s not just because I directed it. It still feels energetic and dynamic – it hasn’t lost any of its impact over time. It’s almost like something both young and wise, he explains with a chuckle.

“Sueño Perro” will be open to the public from Feb. 22 until July 26.

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2026-02-23 18:02