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Screenplay and Comments: Gabriel Blanco & Javier Aguirre. Executive Producer: Eutimio Velasco. Electronic Music: Luis de Pablo. Singer: Pericón de Cádiz. Camera: Alfonso Pérez Muñoz & Fernando Guillot. Sound: Jesús Ocaña. Staging: Maria Teresa Guillot. Director’s Assistant: Gabriel Blanco. Production Chiefs: José Pedro Villanueva & Antonio Llaves. Productión: PROCUSA. Colour . 1961.

Comments about the film



It is a very suggestive short film: the same realities of one town are shown in two different ways. One way is so rich, audacious and stimulating, especially for us musicians: the electronic music – the first one made for Spain – is used as a lineal vehicle for the dizzy view of the town…/ … Undoubtedly, the cinema by Javier Aguirre is the one for whom I have produced my music with more joy.




The final planes of the beach contain an intuitive density which reaches a character reserved only to great film directors (such the final planes of the trumpet player  or Juliette Greco playing “Elena and Men”, the return of Cimarron from the War of Cuba, and so on) and we can also refer also to the plane of the fish in the quay…/ … The transcendence of Espacio Dos precisely lies in the non-brained character of the demonstration, in a sort of subtle emanation issuing from modules reserved only to real creators… /… Definitely we are in front of a film with a modern language made by a Spanish creator. Because of its effects in the spatial counterpoint, for its staging, its sound, because of the subtle suggestion of “a beyond”, hidden and mysterious,…/ … I deem we have to consider “Espacio Dos” and “Tiempo Dos” are two main works. I assert that together with “Tierra sin Pan” (land with no bread) and Cuenca, they are the only important documentaries made in Spain.




There are a few things of that documentary about Cadiz that seemed so interesting to me: the nunnery, the church, the walls, from above, enhancing the white shades; they have got the Andalusia grandness. These rags flying, swayed by the wind, in the white terrace roofs which kept in step with Pericon de Cadiz’s voice and finally the camera showing the football match in this very particular way with the contrast of this music, so cold.




And with a leap of a gigantic spear, Cadiz, the age-old town, the heart of Tartessos, the anchor of the Indias, at the level of bootblack or from the sky, so structural, the one that seed and polish the singing or register the caryatids made from fibre and esparto grass by some old men, and at the end as a sort of satiric knowing wink, it focus on the head-helmet of a policeman…/ … there is no fear of mannerism, nor inertia or self-tricking. We’d have to thank him who is about to round off, through subsequent plenitudes, the magical equation of violence and harmony.




Insisting in his much particular study on both time and space, Javier Aguirre signs Espacio Dos (1961), and won a prize in the 1962 edition of the Mostra de Venezia (documentary films)… /… but simply showing the urban geography is not enough to Aguirre, and at the first opportunity he goes down and shows people feeling that the portrait of this filmed space would be incomplete without those ones. The electronic music of the aerial views and planes changes into the singing of the land in scenes of pure life, with no additions which take up again the anthropologic usual sight. The face in close-up of a policeman who keeps an unconcerned eye on the beach is the last plane in the movie. This is an example (such as the last plane of Pasajes Tres, a child face) of the predilection for the abrupt endings of this Basque movie-director; a resource that lets in the air a certain halo of oddness. We are not to forget that Aguirre is a movie-maker who loves to squeeze out the sensorial possibilities of the cinema.