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Idea and screenplay: Javier Aguirre y José Luis Barbero. Camera: Ángel Gómez. Staging: Otilia Ramos. Production: NO-DO. Black & White. 1960

Comments on the film



Tiempo Dos is a most beautiful cinematographic work of art. The sensorial pleasure produced by the viewing of the film gains the sense’s plenitude – that is the significant dimension in whom the aesthetic value concludes – mainly due to the accompanying sound… / … this is the kind of effect the poet gets when conjuring up Italica among its ruins: everything disappeared, the fate changed / merry voices in a mute silence. We feel that the emptiness of the absence gripped our throat. Indeed: the aim of Tiempo Dos, and which is plenty showed, is undoubtedly the feeling of loneliness.




Tiempo Dos is a melancholic and sad film. With a mild greyish shade so poetically evocative. It has been made with the heart. It has got pureness, shows frankness being so well-shaped and so concise. The picture I remained is the one showing an old-fashioned photographic instrument protected from rain by an umbrella.




These are summer resorts, with all their inherent coarseness: people, movement, easy external happiness, tiredness, boredom. In the film, made in black and white these are silent and apparently uninhabited, under the rains of a sad winter… / … My feeling is different maybe because I hate light, the stress of the Mediterranean summers. I see them just on the contrary, concentrated and powerful in their winter authenticity, in a certain scorn, turning to their intimate life, carrying out a firm self-examination, sagacious, with no hint of willingness.




I don’t write poems anymore because I dream of them. A recent dream was the Plaza de San Jaime (Saint James Square) completely empty. This feeling of loneliness when viewing Tiempo Dos.




Background music that tries, intends to melt with a past, with memories, that is Tiempo Dos. A present time open to the past. And not only melting with the present time even with a present time that comes true but with the life memory.




Tiempo Dos which can be set as one of the most significant and surprising discoveries of the experimental cinema carried out in Spain… /… Tiempo Dos is a much agile game and sensitive of both dream and reality, of evocation and presence, of what it is and of what we’d like this to be always.




Tiempo Dos is a much interesting experiment, achieved by the efficient use of both image and sound. Along the film, the hearing element is the counterpoint of the visual one, reaching quite different results if compared to Querejeta and Eceiza’s film. Mainly as Aguirre is interested by the human being …/ … we understand the great existential drama we are looking at… At the beginning, a lonely sad child with big eyes which show a premature mental development who is feverishly looking the void in front of him… /… there is a certain pessimism in Tiempo Dos. The sense got about the existential destiny of human being is a bit of despair. Anyway the author is solidary to men because of their helplessness to go beyond this fatalistic condition that corners them… /… The whole Tiempo Dos shows to be the most perfect and ambitious experiment carried out in Spain. The asynchronies are according to the process already followed in the visual breaking staging …/… it was so difficult to associate this to the Spanish documentaries in this particular moment of history. That is I immediately classified this sample of experimental cinema among the scarce important national short films produced in the last thirty years.




Thanks mainly to composition of both rhythm and pictures the viewer feels to be into the poetical continuity with an impulse similar to the one caused by a new story, but with no story at all… /… Suddenly I remember the beginning of a poem written by Rodrigo Caro: “These ones, Fabio, oh, such a pain you are seeing at this moment / fields of loneliness, withered hillock, / were long ago the well-known Italica".




From the memorable short film about Zarauz unpopulated an autumn day with unceasing rain…/ … Javier Aguirre has covered a long career plenty of shrewd and tenacious searching --- nerves and all set conscience, drilling eyes round about him… /… the winter journey of Zarauz, which reveals this author’s surrealistic sensitiveness, both allegoric and melancholic: the piece of paper in his dialog with the wind… /… the types of poetic daily nature.




While the photograph shows these empty places … these are summer resorts photographed in the winter … the counterpoint of the sound gives us a riotous sound taken when the places were a swarm of people. The result is a great nostalgia, a tremendous homesickness, a grand tenderness and a so huge poetry.




I think it is the one I prefer, I do not know how you call it. One feels in an unknown place, it seems a small Spanish town, not a hamlet with archaic foundations. Old streets, a solitary youth, the darkness of an entrance hall, a couple of man and woman, between the columns of a small square, no nor love or approaches, they are together, it’s true but, who are they, how are they? Two citizens passing by. Suddenly in the path of a kitchen garden some newspaper bits or snack package are floating, swayed by the wind and, at the same time the shape of a circular bandstand, with stone basement, where the children play music on Sundays and whose rumour is still printed in the current loneliness of the place, permanently innocent and decrepit, that calls the imagination’s sail.




But among all the short films made by Aguirre there was one that really impressed me, it even terrifies me. It terrifies me: the one called Tiempo Dos…/… Aguirre should have destroyed this Tiempo Dos. He can be destroyed and no one will listen to his apologies for overtaking the real Tiempo Dos. The nowadays Tiempo Dos.




Tiempo Dos (1960), in which though a simple appearance process that consists in modifying the sound of the pictures we are looking at, using the sound these pictures should have had in a particular time of year, he reaches much astonishing results as the pictures enter a new dimension, with great evocative power… /… claiming the sound as an autonomous element … / … breaking the space-time rules of cinema through a different path to the previous travelled ones.