ABSTRACT
In the final scene of Amores perros, the director of the film Alejandro Gonzalez Inarritu presents a radically new conception of the 'messed-up love' through a redeeming reconfiguration of brotherly and animal love. In assessing whether there is historical continuity between the role of the dog in Amores perros versus the case of the early modern Spanish world, the author concludes that a continuity exists between of Velazquez and Cervantes and films such as this one since they share some points of contact in their treatment of the animal. Even though it is an important theme, the ultimate premise of the film is not to depict an animal or dog-like state of people who care for animals more than people. In the Cain and Abel story, God desires the sacrificed animal, causing one brother to murder the other, and then the banishment of the murderous brother.
