The Los Angeles County Museum of Art this week is opening Sueño Perro: A Film Installation by Alejandro G. Iñárritu, a multisensory experience that reimagines the legacy of the director’s 2000 debut feature.
Opening to the public Sunday, the exhibition highlights the 25th anniversary of Amores perros, the film that first established Iñárritu as a master of modern cinema. The original film tells a captivating and fragmented story of Mexico City’s underbelly, exploring the harsh realities of the underworld through three interlocking narratives of hope, betrayal and revenge.
The installation, located on Level 1 of the BCAM building, features never-before-seen footage originally left on the cutting-room floor and buried for a quarter-century. For Iñárritu, unearthing the million feet of discarded film — roughly 300 kilometers of 35mm celluloid — was a profound experience. “It was like the placenta,” Iñárritu noted, describing the unused footage as the frozen life-source of a 25-year-old film that has now been given new DNA to come alive in a completely different form.
Visitors will enter a dimly lit industrial space that unfolds into a surreal, dreamlike landscape. While previous, more expansive iterations of the exhibition in Milan and Mexico allowed for sprawling corridors, LACMA’s tighter quarters initially gave the director pause. Iñárritu worried the “bounce” of the projectors and audio would overwhelm the senses into what he jokingly called a “mega guacamole.” Instead, he embraced the density, resulting in a “paranoiac version” of the exhibit. “Everything attacks you at the same time,” he explained, noting that the ability to see six screens simultaneously perfectly mimics how we actually recall memories — as fragmented snippets and emotions rather than chronological narratives, an approach deeply inspired by Latin American authors like Julio Cortázar.
To maintain the immersive illusion, Iñárritu eschewed traditional hanging fabric. He instead created a vacuum-like space where vintage 35mm analog projectors, sourced from a Regal cinema in Los Angeles, cut through water-based smoke to create literal sculptures of light. The sensory peak of the labyrinth is dedicated to the film’s central car crash, a sequence originally captured in a single, highly dangerous take using nine cameras.
Karol Pruzinsky
Karol Pruzinsky
Coinciding with the exhibition is the global release of a commemorative 25th-anniversary book, also titled Amores Perros, published by MACK. The 336-page bilingual publication offers an unprecedented deep dive into the film’s production, featuring storyboards by Fernando Llanos, handwritten notes, and a wealth of unseen on-set photography pulled from a forgotten blue storage box. This archival discovery triggered so many memories that it prompted Iñárritu to expand his planned three-page introduction into a 20-page reflection. The volume includes contributions from renowned filmmakers such as Denis Villeneuve and Walter Salles.
The celebration Sunday evening includes a special screening of the film — which Iñárritu famously fought to keep titled Amores perros worldwide, rather than the US distributor’s heavily disliked translation Love’s a Bitch — followed by a conversation between the director and LACMA CEO Michael Govan at the Academy Museum’s David Geffen Theater.
Karol Pruzinsky
Karol Pruzinsky
The milestone has prompted deep reflection for the auteur. He recalled being 36 at the Cannes Film Festival, watching Bernardo Bertolucci present a 25th-anniversary screening of 1900, and wondering how the older director felt watching his younger self’s work. Now, Iñárritu finds himself in that exact position. Yet, while this retrospective honors his scrappy, rule-breaking early work, his sights remain firmly on the future: he is currently preparing for the October 2, 2026, theatrical release of his next movie, Digger, starring Tom Cruise.
Sueño Perro will remain on view at LACMA through July 26.