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Inarritu's Heartchecking
By Anna Ozar The Moscow News

Five years ago, I watched Alejandro Inarritu's movie Amores perros. I still watch it today whenever I need an adrenaline kick or a reality check

Last week, Inarritu's latest movie Babel hit Moscow cinemas. The trailer was made in such a way that the viwer would be forgiven if he thought it's a serious project made in Euro news style. Once the movie begins, you understand that this first impression was wrong. What do you feel when you hear: "Ten people were killed in a terrorist attackЕ"? Is there any compassion in your heart? Or do you continue to wash the dishes indifferently? What is terrorism? Have you ever thought of the fact we perceive everything as terrorism while many things are only stupid accidents? There is a unique and fragile human life behind all of this formal information?

I would call Babel a movie about the human factor, the thing we forget about while staring at the nightly news. Inarritu reminds us of this with some help from his favorite actor, Garcia Bernal, who also played in Amores perros, and Hollywood monopolists, Brad Pitt and Cate Blanchett. Today, Inarritu can afford such stars - he's no longer a Hollywood unknown, but a master who is catching the reality around us. Actually, he films reality with such precision that the spectator understands every little thing the director wants to accent.

Alejandro Gonzalez Inarritu started his show-business career in 1984 as a DJ at top-rated Mexican radio station WFM. At the same time, he studied filmmaking and theater. From 1988 to 1990 he composed music for six Mexican features, including Garra de tigre (1989). In the 1990s, he became one of the youngest producers in Mexican TV when he was in charge of the production of Televisa, Mexico's best-known TV company. After leaving Televisa, he started his own company, Zeta Films. He began writing and shooting TV advertising for Mexican television (some of these creations are in his first feature, Amores perros [2000]). At the same time he continued studying filmmaking in Maine and Los Angeles under Polish director Ludwik Margules. His first half-length feature, Detras del dinero, was produced in 1995. Then Inarritu met Guillermo Arriaga, and the pair decided to portray Mexico in 11 short films rolled into one. Out of the eleven stories, three of the best led to the creation of Amores perros. Then there was 21 Grams - stunning and touching, the title refers to the amount of weight we lose when we die. So, according to Inarritu, love is a bitch, but there is life after death. Babel tells us about - What? I'm not sure - What does it mean when a deaf-and-dumb Japanese girl, whose mother killed herself some years ago, is standing in the middle of a dance floor, lonely and confused? What is it about when two Moroccan boys decide to check their gun and accidentally shoot an American woman on a tourist bus? And what is Inarritu trying to suggest when, after the accident, the American embassy cancelled all the Moroccan ambulances and made that victim wait for "native" help?

As far as I know, Babel had to be the third movie in Inarritu's trilogy about death. Babel has already won the Golden Globe, and an Oscar may not be far behind. The movie is nominated, and it certainly has all the chances to win, because Inarritu caught something very special (except Brad Pitt, of course) in this film.

Anyway, the movie wins in my own two nominations. First, as the subject of discussion - it is at least actual and extraordinarily interpreted. Second, Babel will make you feel alive.

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