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DISPERSIÓN DE LA LUZ (Light Diffusion)

Photo Gallery

Lightbox Gallery : horizontal

Production: Actual Films, 2006; Directed by: Javier Aguirre; Based upon the work: "Sobre los Angeles" (on the angels), by Rafael Alberti; Production Manager: José Luis de Damas; Editing: Antonio Peláez; Photography Director: Víctor Tejedor; Music: Eduardo Polonio. Stars/Actors: Cristina Marsillach and Rosanna Pérez Valls. With the voices of: Teresa Berganza, Manuel de Blas, Mario Gas and Felix Grande. Length: 85'.

Comments on the film

 

PROFESOR BRUNO DI MARINO

Aguirre’s masterpiece is his later long film, called “Dispersion de la Luz” (Light Diffusion) which has been shot is different places located in Madrid, Malaga and Valladolid. The film, which is made up of 1073 shots and has been applied 1393 digital effects –as specified by the director in the last titles- is based upon a poem written by Rafael Alberti read with voice-over. This much complex work is a sulphurous video-symphony which intends, on one hand, to visualize the lines written by the Spanish poet and, on the other hand, to create a flow of images that remind us some other pictures by mixing film bits (Ruttmann, Lang, German expressionism, Cinegiornali, Hitchcock, and so on)…/ … The poetic pretext unleashes Aguirre’s most uncontrollable fantasy who does not hesitate to interpret, once again, the filmic avant-garde like a fascinating spectacular and hyper-formalist device.

2006

 

RAFAEL ALBERTI

I’m really happy and excited as both your courage and fearlessness, for so many years, have finally made you to turn my book on Angels into cinema; this is one of my dearest books and at the same time undoubtedly the most difficult to pierce. I have always felt stunned by your persistence in this ambitious project; and, as I have told you so many times, I am impressed by your personal vision on my poems you have turned into a so attractive screenplay…/ … Attracted by the strength of these lines, Javier Aguirre’s voice, the smart director of the movie “España Insolita” (unusual Spain) is on the other end of the phone. I’m really excited by his project of turning “Sobre los Angeles” into cinema, by this risky and much interesting screenplay which is waiting for a Becquer hand to economically press it nearly since my return trip to Spain.

 

 

RAFAEL UTRERA MACÍAS

The film is characterized by its full independence although the text has been the motive of the image. “Sobre los Angeles” becomes “Dispersion de la Luz” which is, and at the same time, is not…/ … infinite plastic possibilities where the light, the lights playing becoming visual metaphors build an organic text where the looking and the listening are blended…/ … An harmonic whole where the sum of pure image, whole word, suggestive music are melted in a solidary embrace…/ … the diction of every text, varied in the elocution, in the tone, in the timbre, he uses powerful voices as Mario Gas, Manuel de Blas, or Felix Grande’s ones in order to contrast with the expressive sweetness and poetic delectation with Teresa Berganza’s voice…/ … Javier Aguirre builds an audio-visual tale from start to finish, with no intermediary titles or artificial divisions; he hasn’t make the mistake of labelling or subtitling each part or block possibly because in his opinion “Sobre los Angeles” is an harmonic whole whose best visual characteristic is accomplished by creating a narrative continuum, like a dynamic iconography that does not allow any outer hiatus or caesura. That’s the reason of the independence of a visual tale whose poetry is born from itself and by itself although it doesn’t deny its source nor forget a generous literary heritage…/ … Javier Aguirre employs “his own images” (equivalent to his own names); the actress Cristina Marsillach, dreamy or puzzled is an example of eloquent gesture, silent presence, harmonic features in her particular gazing of the world…/ … this razor, a fetish for so many generation mates, rotten or not, these objects, Buñuel, the actor Luis Buñuel turned into a timeless icon while cutting an eye with it; this allows us to enter the cosmic subconscious for some ones to film it and for other to dream of it and, later, it would come true onto a silver canvas. Closing the film by showing the razor on the woman naked body swamped in water is an example of eloquent iconicity…/ … the imagery created by Aguirre in “Dispersion de la Luz” is characterized by the iconographic complexity of each shot…/… Aguirre’s polished speech creates an audio-visual poem where a highly personal literary text and an original lighting symphony can melt.

2009