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It would be fair to say that Amores Perros, roughly translated to be Loves a Bitch, makes the ultimate statement, Love is a struggle.

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Octavio, a rebellious adolescent who is secretly in love with his sister-in-law, dreams of escaping his miserable life, and for this reason, he enters reluctantly the obscure world of dog fighting with his lethal dog Cofi.

And then unexpectedly, Valeria, a stunning woman and famous supermodel, will cross paths with Octavio, while in the meantime, her pampered little dog Richie manages to vanish into thin air in the confined space of her apartment.

Lastly, Chivo, an ex-guerrilla vagabond, after abandoning his little daughter, unable to make up for lost time, he channels his love to the citys strays and a mortally wounded Rottweiler.

Walking the streets with a creaky cart and a gaggle of mangy dogs, he was found by the policeman who jailed him, who gave him a dingy place to live, food, and the odd, non-official contract.

With intricate structure, Amores perros tells three stories, one of underclass Mexican life, where survival depends on what New Labour calls illegal economies (dog-fighting, bank-robbing etc.), where bright young women are stifled and degraded by thoughtless pregnancies and brutal marriages, where single mothers depend (and usually cant depend) on shiftless sons for subsistence; and this worlds mirror opposite, the world of the media, of celebrity, of models and magazine editors, of daytime TV, perfume advertising campaigns and bright apartments.

Family life is central here too, although in this case it is torn apart by more pleasanntly bourgeois ailments like ennui and dissatisfaction.

There is something Biblical about his hirsute ascetism too, presuming to judge the Cain and Abel half-brothers, one an adulterer, the other with a contract out on his sibling, another example of family gone badly wrong.

Like Paul Thomas Anderson in Magnolia, although to a less self-conscious degree, Gonzales Inarritu is the God of his film, intricately creating the structure that links his characters and their different environments.

These are negative connections, however, which work against the idea of coherent meaning in life - contact usually results in destruction (physical, material, spiritual), or diminishing.

He is also an Old Testament god, punishing those who would get too confident with their future plans or their seemingly inviolable present success - the gains of capitalism are prey to the violent whims of chance: Gonzalez Inarritu doesnt need frogs to shake a rigid society or mindset.

Moral change is linked to physical change - being beaten up, losing a leg, cutting hair.

The punning title, with its reference to the dog-eatfight-dog nature of modern life, and its general unsatisfactoriness, also gives the film its Biblical feel, the idea of Mexico as an asphalt desert, or a rubbish heap, with all these scrawny mutts scavenging the remains.

Amores perros shares the sickly, bleached near-monochrome look of many recent crime films, like Chopper or Bleeder.

But where the heightened mise-en-scene in those works were expressionistic projections of their protagonists psychosis, here its part of a controlling world-view, the universal consciousness that creates, connects and destroys.

The three stories, though connected narratively and symbolically, are mutually distinct - the first is an exhilirating mix of violent gangster film and frustrated romance; the second is like a short story (the screenwriter is a novelist), a figurative plot where movement is through image, symbol and idea, rather than film narrative; the third is a kind of spiritual journey, with an appropriately Biblical (or Wim Wenders-like) openness.

Amores perros is not quite as amazing as its admirers claim - it says more about contemporary cinema that a film only has to hold your interest for it to be a masterpiece - but it is consistently enthralling, and, despite all the stylistic tics and brutal violence, bracingly humanist.

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