Prosecutor, Rescuer, Victim: Three Sides of AViolent Triangle: A Socioanalysis of AlejandroGonzález Iñárritu’S Amores Perros

With the emergence of postmodern thought, human relationships have deteriorated.due to this fact, there is unimaginable excessive violence as one may uncover the layers ofsociety. sociological theorists believe that the most important reason behind this ferocity wouldbe some social discrimination like poverty and inequality. such a condition forces the masses tomake inefficient decisions in their lives. in other words, the masses to establish a relationship turninto ‘a psychological limbo’. stephen karpman takes this matter into consideration and criticizessuch a problem in his famous theory, ‘karpamn drama triangle’. as far as one may concern, histriangle has three edges: ‘prosecutor, rescuer, and victim’; and they repeatedly exchange theirindistinguishable roles. regarding this, from the very beginning of the emergence of motionpictures into the world of art, the directors, captivated by the social circumstances of theircharacters, depict such a condition in their movies. from this point of view, an outstandingmexican director, alejandro gonzález iñárritu, a storyteller of the human condition, depicts sucha kind of disorder in his non-chronological movies, particularly amores perros. he incrediblyshows the terrible fate of the characters who have stuck in karpman’s triangle, which end up asthe victim of the game. therefore, this study investigates how the social dilemmas challenge thecharacters in amores perros, the nonlinear depiction of a disintegrated society.