The end of a cinematic cold war
Oh, the magic of cinema. Not only is it capable of transporting us to other worlds, but it can also achieve what seemed like a greater miracle: that two creative geniuses, after almost twenty years of looking at each other out of the corner of their eyes at public events, decided that, after all, sharing oxygen in the same room was not so bad. In a move that no one saw coming (or that everyone had been waiting for forever), the special screening of “Amores Perros” at the majestic Palacio de Bellas Artes not only celebrated an iconic film, but also served as couples therapy for Guillermo Arriaga and Alejandro González Iñárritu.
Imagine the scene: minutes before the performance began, Iñárritu himself climbs onto the stage and, with the solemnity of someone announcing a peace treaty, declares the end of hostilities. In case anyone had any doubt that this was not a passing outburst, then an official statement arrived, signed by both, as if they were heads of state putting an end to an absurd war. Because, let’s be honest, what is a dispute of egos between established artists if not an absurd war with Oscar awards involved?
The text, which was undoubtedly polished to the point of exhaustion by an army of lawyers and image consultants, read: “After years of feuding, we have decided to leave our disagreements behind and return to the friendship that united us and that allowed us to make three films together of which we are proud.” Translation into earthly language: we were tired of being asked about each other and of our families making fun of us at Christmas dinners.
Family pressure and the weight of an anniversary
And, as the interested parties themselves confessed, this historic approach was not only the fault of the nostalgia caused by the anniversary of a film that changed their lives. No no. It turns out that their families and close circles had a lot to do with this reconciliation. One can almost visualize wives, children and close friends, after two decades, issuing an ultimatum: “Guys, enough is enough. Grow up. Or do you want the history of Mexican cinema to remember you as two spoiled children?”
The prose of his statement dropped it with elegance: “Today the voices of our families and those of the people who love us weigh more, who pushed us to recognize the value of the lost affection between us and that we have decided to recover.” In other words, social and family pressure is more powerful than the wounded pride of two titans. What a relief to know that even the geniuses of the seventh art succumb to the demands of their mother-in-law.
But not content with solving their personal problems, the duo now aspires to become an example for humanity. They expressed their hope that this step they have just taken can serve as inspiration in a world full of conflict. Because, clearly, if world leaders saw how Arriaga and Iñárritu shook hands, they would instantly resolve all wars and geopolitical crises. The solution to world peace was, apparently, hidden in a movie theater seat.
The origin of the conflict: Egros or credits?
This historic reconciliation officially closes a chapter that opened more publicly than a Cannes premiere in the mid-2000s. The reason? The well-known creative differences and, the real bone of contention in Hollywood and its surroundings, the credits. Who was really the father of the idea? Who gave its soul to history? Questions that have fed rivers of ink and internet forums for years.
Together, they formed a creative duo as explosive as it was fruitful. They created “Amores Perros“, “21 Grams” and “Babel”, a trilogy of films that catapulted them to international fame and earned them the admiration of critics and the public. However, disagreements about the creative process distanced them to the point of avoiding meeting in the same space for years. It is rumored that their work teams had maps of each other’s locations to ensure a separation radius of at least 500 meters at any festival they set foot on. A choreography worthy of a ballet, but with much more ego.
To think that it all started with a project that revolutionized cinematographic narrative in Mexico, “Amores Perros“, a raw, visceral film full of intertwined destinies. Ironic, right? That the same film that united them in glory was for so long the reminder of what they missed. The reunion at the Palacio de Bellas Artes, the cultural temple par excellence of Mexico, could not be more symbolic. It’s as if the universe, or at least the art institute, had said “now, guys, it’s time to make peace.”
Now, the world of entertainment and culture breathes a sigh of relief. You will no longer have to choose sides in this particular cold war. Journalists will be able to cross off the question “will there be reconciliation?” from their lists. And we, the mere mortal spectators, are left with the moral: even for the most brilliant and creative minds, sometimes pride is nothing more than a ridiculous obstacle that prevents us from enjoying a good talk and, who knows, maybe a new project. After all, in the film industry, happy endings are always the most profitable.
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