FoNazione Prada presents “Sueño Perro: Instalación Celuloid de Alejandro G. Iñárritu”, a multisensory exhibition born in the intersection between cinema and visual arts and conceived by the Mexican director Oscar winner Alejandro G. Iñárritu. On the occasion of the twenty -fifth anniversary of its legendary debut film Amores Perros (2000), “Sueño Perro”
It will be revealed for the first time to the Prada Foundation in Milan from 18 September 2025 to 26 February 2026 (press preview on Wednesday, 17 September) and subsequently in other important international institutions, including Lagoalgo in Mexico City from 5 October 2025 to 4 January 2026 and The Los Angeles County Museum of Art (Lacma) in the spring of 2026.
“Sueño Perro” marks the third collaboration between the Prada and Iñárritu Foundation which conceived the film review “Flesh, Mind and Spirit in Seoul (2009) and Milan (2016), and the experimental installation of virtual reality” meat y Arena “in Milan (2017), included in the official selection of the 2017 Cannes Film Festival and awarded with a special Oscar by the Board of Governors of the Academy of Motion Arts and sciences. As Miuccia Prada, president and director of the Prada Foundation, claims, “with this project we want to open new perspectives on her work and on a film that, since the beginning, has combined the strength of realism to the density of symbolism. At twenty -five years after its release, Amores Perros continues to speak to the present and return, with visual and emotional power, all the complexity of the world in which we live.”
“Sueño Perro” reveals unpublished turns that tell the universal themes of Amores Perros such as love, betrayal and violence. These raw sequences, at the time cut during the assembly and preserved for a quarter of a century in the film archives of the Universidad Nacional Autónoma de México (Unam), capture the intense and interconnected socio -political realities of Mexico City, still extremely current today. Starting from the raw force and the visual poetry of these forgotten images, iñárritu rediscovers their impact through a mosaic of film and sound. At the center of the installation there is a profound veneration for the materiality of the 35mm which with its parmesan, the flicker and the heat evokes a deep sense of nostalgia. As Iñárritu says, “During the Amores Perros editing phase over three hundred kilometers of film were cut and left on the floor of the assembly room. These images full of intensity that correspond to sixteen million frames remained buried in the Unam’s film archives for twenty -five years. On the occasion of the anniversary of the film I felt the duty to rediscover and re -expose these abandoned fragments, With their grain and celluloid ghosts they contain.
The audience will cross a semi -stainless labyrinth, illuminated by 35mm analogue projectors that will spread a continuous flow of fragments of Amores Perros assembled for the first time. A sound landscape, conceived specifically for the installation, will be widespread throughout the space creating a dreamlike atmosphere. Ciak, scratches on the film and flashes of light between coils will interrupt the flow of images, remembering the rough physicality of the support. In the era of artificial intelligence and hyperdigitization, Iñárritu invites the public to enter a place of tactile memory, analog and created by the human being, in which the past “flashes” without being grasped.
The installation of Iñárritu will be set up on the ground floor of the Podium, the main exhibition space of the Milanese headquarters of the Prada Foundation. On the first floor of the building, a visual and sound setting up specially designed for “Sueño Perro” by the Mexican writer and journalist Juan Villoro will take shape. This part of the exhibition entitled “Mexico 2000: The Moment That Exploded” will offer a second narrative level starting from a different perspective. An audio track and a large collection of newspaper clippings and documentary photographs of authors such as Graciela Iturbide, Pedro Meyer, Paolo Gasparini and Eugenio Metinides, selected by Pablo Ortiz Monastery, will transport the public in the cultural, social and political context of the Caotic and intense Mexico City at the beginning of the new millennium.
As Juan Villoro explains, “Amores Perros can be placed in a precise historical moment. In the canonical year 2000 Mexico was crossing a rare and awaited moment of hope: after 71 years in power, the partido revolucionary institutions had lost the presidential elections and the country was preparing to discover a real democracy. At the same time the Mexican reality presented itself as a panorama of disruptions, corruption. and violence “. With this work Villoro traces a map of the political, family, religious and economic conditions that gave birth to the three interconnected and narrated stories in the film. As the writer pointed out, “shot in a ‘moment of transition’, Amores Perros did not reflect the end of an era, but the beginning of a shoulder strap. Twenty -five years after his social relevance is disturbing: what happened then, still happens today. His explosion is still in progress”.
A special edition of the book Amores Perros, copied by Mack and the Prada Foundation, offers a vast in -depth analysis of the visual language of the film and the singular creative process of its author including images of backstage, frames and storyboards. The volume includes an introduction by Miuccia Prada, president and director of Fondazione Prada, an unpublished text by Alejandro G. Iñárritu and the contributions of the directors Denis Villeneuve and Walter Salles, of the essayists Jorge Volpi and Wendy Guerra, the film critic Elvis Mitchell and the creator of the storyboards of the film Fernando Llanos.
Carlo Franza