“How many films can exist within a film?” This is the question lying at the heart of Alejandro González Iñárritu’s celluloid installation at Fondazione Prada. 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’shellip;

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