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Screenplay and comments: Javier Aguirre.Concrete musicAdvisor: Luis de Uranzu. Camera: Enrique Torán. Música concreta: Luis de Pablo. Sound technician: Jesús Ocaña. Montaje: Jorge Palacio.Commentator/voice-over : Roberto Llamas y Ángeles Macua. Drawings: Manuel Calvo y Antonio Saura. Production: CINECORTO. Black & White. 1961.

Comments on the film



The fullness of its shape is undoubtedly similar to a music score. Now I think these virtues become much more relevant (and so the music) if a non-didactical but dramatic conscience intervention is joining the environmental play, a character’s conscience. The documentary field – a poetic documentary anyway-  is moving about to reach the narrative threshold although with no compromise with the explicit inventiveness… /… but all of this, ricocheting in the soul of an old man who is calmly waiting for the final mystery and amusing himself in ordering quite simply his own metaphysics, gains “by fluke” a human interest that goes beyond, at least from a poetic point of view, the direct documentary show, that is, with no incidence angle and consistently, without a reflection one.



The spring time of this moving testimony, and so it is although some screen shots seem to reveal quietude, immobility. The counterpoint mixes up people and chores of three places, but these, more than continuous realities, symbolize three steps, three interval of time in the same community. The cinematographic language is of an undoubted efficiency, and so is the soundtrack which makes the comparison much sharper.



The burial so majestically simple that seems a resurrection art graphic, in the meantime it was lessened by the young boys playing, lovely slowed down.



That’s why when judging Pasajes Tres I unavoidably put myself in a place where it is difficult to consider that this documentary is a relevant work, an exceptional film. It has, I do not deny it, an impeccable execution, a sense of maturity and experience which is really surprising in a young person who is taking a path no one has ever walked before. As far as the door which opens Pasajes Tres, I think it is placed, mainly from a formal point of view, in the experimental part. In these circumstances it is surprising to see a young person to come out in favour of this when there is an overabundance of subjects and problems and it is logic that the form remains unlearned or badly learned in the haste of expressing oneself… / … a short film which could have been, simply another one, in the short list of the most important in the country.




Pasajes Tres (new, old and more) (1961), is his following work. He puts an element, in this film, into practice for the first time; an element which will become a recurrent one along Aguirre’s filmography. It basically consists of marking the difference between two elements or two concepts which will be treated opposing each other through staging and by changing the music; this creates a much interesting staging using contrast…/ … I have to mention the final sequence where a child and two old women follow an altar boy carrying a cross until the church, while the bells are tolling the death knell. It is the perfect metaphor that predict the soon end of a way of life which languishes without redemption. Pasajes Tres won the same year the “Concha de Oro” (Golden Shell) in the Film Festival of San Sebastian.



I’ve seen Pasajes Tres twice. I have liked the second viewing even more than the first one. I think its material has to be viewed even more times. This multiple viewing is a tribute to the strength of pictures of a part of the cinema we’re looking at today. The frame has become denser; the elements are piled up so the sight is unable to cover the whole during the scarce seconds at our disposal while the stills are passing. This problem, the convenience of a rechecked film appears with this short film by Javier Aguirre. So little material from Spanish laboratories has this top quality… /… first, there was the technical impact. I was seeing a somehow lost background inside the formal search.