As Bauer suggests, it is perhaps because race-related episodes of violence have become a habit that people who are caught within them are unable to move beyond them. Violence, then, may be seen as a symptom of a larger plague of non-comprehension that is afflicting society, in which people are unable to "resist someone else's pathos-charged lie, that has appropriated the world and aspires to conceptualize it" (Bauer 678-9). This 'lie' is represented in Anders' Mi Vida Loca in terms of the thematic representation of how violence affects women's lives. Relevant in particular is the way in which the cinematography employs magic realism to depict the ways in which lives are fragmented and claustrophobic. Close-ups of tire rims and the fact that the car has a Love Bug-like "life" of its own depict non-realistic forms of representation that challenge conventional views on Hispanic women's views, and of gang violence in particular.
Mi Vida Loca is filmed "in a style Anders calls "romantic realism, " with camera movement following characters' emotions" (Fregoso, p. 99):
The film's cinematographer, Rodrigo Garca (son of writer Gabriel Garca Mrquez) effectively mixes low-angle close-ups with opalescent and luminous shots. Structurally, the film disrupts conventional narrative coherence. Rather than presenting a single unifying thread, Mi Vida Loca features three interlocking stories, giving the film its episodic quality.
One of the most effective representative techniques in the film is the self-reflexive stance of the voiceover narrative, which almost gives the film an "ethnographic-documentary character" (Fregoso, p. 99). By using six narrators, the film alternates among several points of view and shifting perspectives:
The use of multiple narrators, framed by shifting points of view, effectively disrupts spectator identification with a single cinematic position  Thus in contrast to the single narration, point of view, and/or character identification typical of most mainstream films, Mi Vida Loca constructs multiple positions from which viewers can identify with its narrative reality, positing a collective subjectivity that destabilizes and challenges the individualism usually seen in Chicano gang films. (Fregoso, p. 99)
Dale Bauer has observed that the carnivalesque narrative's deliberate incomprehension of dominant ideologies may be linked to Umberto Eco's idea that when a character plays the role of a fool, it may not be the character that is "at fault. May be the frame is wrong" (Bauer 678). Anders' characters may be identified as such literary 'fools' who question the cultural frame in which they exist. Similarly, the grotesque realism in American Me (a prisoner is sodomized with a knife) is analogous to the cultural unconscious in culture; both films are representations of new and hybrid subcultures that seek to subvert hierarchies.
The term "callejon sin salida" represents