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CHE CHE CHE

Production: Actual Films, FRANCE, 1971. Screenplay: Javier Aguirre. Sound Poetry: Henri Chopin and Sten Hanson. Song: text by José Agustín Goytisolo, music and performance by Patxi Andión. Music: Eduardo Polonio. Text: excerpts from Peter Weiss. Narrator: Leo Ferré. Production: Cinematión, Francia. Spanish narrator: Adolfo Marsillach. Black & White, 694 metres.

 

Comments about the film

HENRI CHOPIN

Your film is a masterpiece. Che is an oppressive film for all those who are afraid of reality. Che Che Che is one of these rare movies it is needed to take into consideration.

1972

 

JOSE AGUSTIN GOYTISOLO

The enormous efficiency of the film is precisely its non-explaining tone and the purely filmic expressiveness of the pictures.

1972

 

JOSE FERRATER MORA

Among all shorts films by Javier Aguirre I’ve seen, “Che Che Che” is the one I prefer. I visually choose “Los Cuatro Elementos” (the four elements), but Che is the most striking one.

1972

 

MANUEL VIOLA

I want to specially focus on the last sequence of the movie as I consider this is the declaration that morally signs and seals the end of the work and is the most honest self-confession that can be done by an intellectual.

1972

 

JOSÉ LUIS L. ARANGUREN

The compromise between the “I” and the time in “Che Che Che” is mainly political: the time of the nowadays citizen, who has endured the horrors of the period and has taken active part in heroic nobilities, yes, but mainly “from a distance”, from a long way off looking at the movie itself.

1981

RAFAEL ALBERTI

I got impressed by Che Che Che. I felt depressed. It is really apocalyptic. From a political point of view it is the most important one.

1978

 

SUSAN SONTAG

Che Che Che is a movie that leaves a sour taste, you feel defeated. The Godard-style end is a thoughtful valid testimony.

1978

 

MARIO BENEDETTI

Starting with a notorious photography of Ernesto Che Guevara, the viewer is gradually gaining access, the moviemaker gives the reasons for Che Guevara’s order to create a hundred Vietnams… /… the picture is, so eloquent and persuasive, in an important part of the movie, so when the word reaches, the viewer needs to adapt to it again. The best thing of the movie, the most valid thing of its daring structure, is the sum of dramatic information given previously and accumulated for Che’s revealing look to be right.

1980

 

FRANCISCO CANDEL

Among the four tapes I have seen I choose Che Che Che. It is not what I mean, I choose all of them. But, as I have the habit of joining art and politics, when it is not like that and it has not to be like that, I felt moved with the movie and I have forgotten the treatment of the tape, its art and its form, so I take the pamphlet vibration though it is not a pamphlet.

1980

 

PABLO DEL BARCO

And the drama starts, framed in a landscape made of branches and fibres – that subsequently in an imperceptible movement, we know it’s Che’s beard turning into a suggestive feminine pubis, which collapsed onto the well-known Havana cigar of the guerrilla leader and his personal aspect.

1995

 

MANUEL ANDUJAR

These hits land their uniform rage, nearly cybernetic, in faces carved by panic, terror and defencelessness, in men whose creaking cracks, in breast that go to pieces, in head to cleave, its hellish dynamics keeps in step with the illustrative spasm of the Hitler Chiefs in close-up, parading with the frame of their followers in a row… /… here comes the misery, the crime and the insanity of our previous period. Also its own plastic premonitions, gradually figurative abstractionism, with their oneiric shade and muddy blossoms in a moon county… /… Che Guevara, the mask of a statue, sign and symbol of a great tragedy and its moral contestation.

1978

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