Pre-credits/Pre-titles
This film has been exclusively worked with manual means. The 13,832 stills of this film have been manipulated by the author, still by still, using all sort of processes such as oil paint, inks, felt-tip pens, lacquer paints, drilling devices, punches, scraping tools, sandpaper, Letraset, decals, adhesive bits, sprays and so on, in order to complete the multiple possibilities that offers the manual work on the celluloid.
JOSÉ GUERRERO
The film that moves me the most is the one about Orson Welles. I find is the freest one. It has so much deepness and sense of humour. There are fragments where the director plays with shapes, entering, moving out like Welles entering and passing by the area. There is a relationship between the character, Orson Welles, who is a real person, and the film which is also a living matter. This lines drawn by Aguirre, these ink blotches that are moving translate the vitality of this man. It’s like if he had wrapped Orson Welles.
1981
SUSAN SONTAG
Underwelles has sense of humour and is satiric, it’s a fascinating picture.
1978 |
