""In the making of his cult cinematic masterpiece Amores Perros (2000), Iñárritu shot over a million feet of film, yet used only 15,000 feet in the composition of his tense, enthralling tale of three individuals in Mexico City whose lives collide when a car crash randomly and violently brings them into each other's paths. The triptych of stories in Amores Perros follows a young man (Gael García Bernal) from the slums who's become embroiled in the brutal business of illegal dog fights, a model who's just signed a lucrative contract, and an enigmatic hitman.""
""Over the past seven years, Iñárritu has been combing through the leftover 35mm film, which has been in storage at the National Autonomous University of Mexico for 25 years, to salvage the many other precious narratives and "ghosts of celluloid" embedded in the remaining 16 million still frames.""
""I was able to observe the material flowing freely with no narrative attached, and I was very attracted by things that I had not seen at that time, appreciating sequences that never made it and seeing that they were very rich in a different way, serving a completely different exercise of image, sound and memory.""
""What emerges in his new installation, Sueño Perro, is a series of vignettes fraught with grit, suspense, lust and brutality. Unburdened by the task of piecing together a storyline, Iñárritu was free to appraise the excess footage with a fresh perspective. Moving through the vast, dark gallery spaces in Fondazione Prada, each hosts one or more colossal projectors casting out Iñárritu's new configurations of footage.""
Over a million feet of footage were shot for Amores Perros, yet only 15,000 feet were used in the finished film. Decades of unused 35mm negatives remained in storage, amounting to roughly 16 million still frames. Over seven years those frames were reexamined to recover alternate narratives and cinematic traces. The resulting installation, Sueño Perro, assembles these leftovers into discrete vignettes characterized by grit, suspense, lust and brutality. Freed from traditional storytelling constraints, the sequences emphasize pure image, sound and memory. Large projectors in dark gallery spaces present these configurations, occasionally revealing familiar characters and settings.
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