Nessa fotografia de Alberto Korda, tirada em um funeral na cidade de Havana, em 1960, Ernesto Guevara de La Serna, o guirrilheiro, transformou-se no mito Che. Considerada a fotografia mais reproduzida da história, e um dos símbolos mais reconhecidos em todo mundo. Ela tornou impossível não associar diretamente o nome ou a figura histórica de Guevarra, ao seu algarítimo, signo e símbolo absoluto.

Ou talvez não. Foi pelo menos esse o pensamento do cienasta norte americano Steven Sodenberg (Onze Homens e um Segredo, Traffic) que, numa empreitada digna de mérito, filmou a biografia de Guevara em dois longas distintos. Che (The Argentine) e Che – A Guerrilha (Guerrilla). Trabalhos que foram exibidos simultaneamente na Mostra de Cinema de São Paulo, neste mês de outubro.

É provável que a força de trazer o homem por detrás do mito tenha sido o grande motivo para Sodenberg reproduzir um trecho da vida do guerrilheiro, assim como Walter Salles ensaiou em Diários de Motocicletas. O homem da foto, sem a fotografia sem si, pode ter sito a razão de não dividir com o espectador a cena em que Ernesto Guevara, estava inerte, raivoso e com um olhar longe, um momento emblemático, captado pela lente da Pentax e pelo filme Kodak de Korda.

Não cabe aqui explicar quem foi Guevara, ou quem foi Che. Assim como aparenta ser que o filme tenha se distanciado em mostrar os amores, os conflitos internos ou toda a penca de besteiras, ou “liberdades artísticas” comuns em grandes biografias. Nessas entrelinhas dispensáveis, optou-se por dispensar a consolidação da imagem, justamente ela que até mesmo inspirou um documentário exibido na Mostra de Cinema do Rio de Janeiro, chamada Chevolution.

No site Omelete há um revew muito interessante sobre a exibição do(s) longa(s) em São Paulo, vale a pena dar uma conferida e se preparar para assistir um dos filmes mais ambiciosos.

No Brasil, está prevista a estréia de Che para fevereiro, para aproveitar alguma possível indicação ao Oscar por parte de seu protagonista Benicio Del Toro, ou em torno da grande produção. A segunda parte ainda não tem data prevista. Até lá, ficamos com a campanha de marketing, que não foi seduzida pela pose singular do revolucionário argentino.

Armado para a batalha

Síntese da vitória

Na espreita

Fábio Prina_30/10/2008

١-قطعا امروزه تنها هنري كه آدمي را شگفت زده ميكند ، هنر سينماي اونوري هاست .

٢- قطعا امروزه تنها هنري كه آدمي را شگفت زده ميكند ، هنر سينماي اينوري هاهست .

٣- قطعا امروزه تنها هنري كه آدمي را شگفت زده ميكند ، تفاوت هنر شگفت انگيز كردن اونوري ها و هنر شگفت انگيز كردن اينوري هاست .

The Hurt Locker از Luis يه فيلم ايتاليايي

چه گوريل آرژانتين از Ecran Large

• حالا : يه مسابقه كوچولو توسط يه مشت خل و چل تحت عنوان (IMP (Internet Movie Poster برگزار شد كه يكي از چل هاش هم حقير بود . تو اين مسابقه جمع شديم و يه مشت پوستر انتخاب كرديم . البت تنها آدم اينوري كامبيز وبي بود و شرمنده كه نتونست از ناموس پوستر ايران دفاع كنه . (اشاره به كامنت يه بابا كه تو زمانه نوشته بود گلشيفته فراهاني ناموس ايران بود و نبايد با بيژامه ميرفت روي رد كارپت ).

پوستر انيميشن بالا از wildaboutmovies

• از اين رو سه تا پوستر منتخب را از دسته منتخب ها ، انتخاب كردم تا عين دفاع از نواميس گرافيست هاي ايران ، مشت محكمي هم بر دهان ياوه گوياني كه بي دليل اينوري ها را محكوم به بي هنر بودن ميكنند ،بزنم و ثابت كنم كه هنر نزد ايرانيان است و بس . اثباتش هم اينه كه اونوري ها پوستر ها را كار كردند و ما هم انتخاب . به هر حال هر دومان كرديم .

The Argentine

Picking up in 1965 one year after his United Nations speech, part two of Steven Soderbergh’s ‘Che’ films rightly earns the title of epic once the entire scope and massive breadth of vision is fully absorbed. Again, it’s a remarkable achievement and, while we’re fine with seeing it in two parts, it’s probably all the more breathtaking in one sitting if you’re that fervent a cineaste.
Having mysteriously disappeared, Guevara has actually assumed a disguised identity as an older man, preparing for his clandestine voyage to Bolivia to start another revolutionary campaign.

Again, shot in a simple, straightforward documentary manner, the lens is like a voyeur silently accompanying the new guerrillas, sometimes masked by the foliage and trees of the Bolivian jungle.

The main difference cinematically is the photography. While part one is shot in the rusty red and orange hues of resplendent Cuba, the rough terrain, inclement weather and harsher conditions are portrayed in an icy cold blue – a metaphorical indication of things to come.

Music is also slightly more integral to “Guerrilla”, with somber and native Spanish guitar musically occasionally accompanying a few transitional scenes. But as is Soderbergh’s agenda in this biopic, most flourishes of typical biopics and dramas are kept to an austere minimum.

An uphill struggle from the get-go, “Che” could have easily been subtitled la vida dura. Che’s miscalculations in Bolivia can be seen as vast, but the flaws are mainly ideological; plus a series of setbacks that lead to an ill-organized effort that should have been abandoned. But before his troops can even entertain that thought, they are outgunned, outnumbered and overwhelmed.

Perhaps one key element of their lack of fortune is the nationalistic nature of the Bolivianos; suspect of foreigners, they’re mostly unwilling to accept an Argentine-Cubano to lead their revolution.

The fantastic element of the storytelling is that every piece of information is inferred. Soderbergh refuses to drop obvious speeches or monologues that explain their plights, but a series of scenes adds up to the sum of the problems.

Del Toro is once again immersively perfect, tranquil and solemn; asserting a man in command who rarely raises his voice with and passionate empathy for human kind that’s all in the eyes. This inner, nuanced performance embodies so much dignity and respect.

Demián Bichir, Joaquim de Almeida and Yul Vazquez also do fantastic jobs as Fidel Castro, the Bolivian Presiden René Barrientos and Acting Minister of the armed forces, Major Juan Almeida respectively (if you can’t find these names, lose the graph please)

The big-picture issue hit major, abortive-level issue early on. The Bolivian communist party refused to back an armed campaign (represented by their leader Lou Diamond Phillips), then disavow their support financially and spiritually – a major blow on multiple levels (other cameos in both films include Franke Potente, Matt Damon, Julia Ormond, Catalina Sandino Moreno and Edgar Ramirez) . Their campaign and Che’s presence is meant to be a secret; the government soon becomes aware of their plans. Fissures also break deeply in the guerrillas spirit when hunger and defeats cause loss in morale and they wander through jungles dejected. The sight is heartbreaking in its subtle manner and the film moves to its inevitable conclusion. Despite all this, ‘Che’s second half is not a downer. Instead it’s another sturdy depiction of a revolution – this time one that ends in failure.

Source:theplaylist

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I had been trying to get tickets for the September 12, 9:00 am 262 minute (plus 20 minute intermission) Toronto International Film Festival screening all week and was delighted to stumble upon a freshly released ticket online approximately 30 hours before the screening.  With the exception of a delicious eggs, bacon, pancakes and orange juice breakfast at Sammy’s One & Only pre-Che, it was all downhill from the ticket purchase onwards.

The 262 minute runtime promised to me a thorough recounting of the man’s life, and the casting of Benicio Del Toro gave me confidence that any eccentrities of the man would be captured.  I assumed incorrectly.  The brunt of the 240 minutes that I managed to stay awake for provided an outline of the battles and notable events of Che’s life as taken from a 400 word History textbook sidebar (the Sandman caught me for a few minutes in Part II.  I am not proud that I couldn’t stay awake for a movie I planned to review however I was trying to abide by the no food or drink rule.  My good friends Red Bull or Tab Energy would be necessary film companions for a movie with this pacing.  So please read this review with that in mind).  Rarely does the film (that I saw) entertain with Ernesto ‘Che’ Guevara’s intensity or tactical brilliance, even during the film’s half a dozen fight sequences.  Che’s contribution to the revolution seems to be found in his popstar hero myth, attempt at ideological purity (in comparison to Fidel Castro), and his abilities as a supervisor of his small teams of brainless fellow revolutionaries, if this film is to be believed.

If the objective of this film was to confuse college kids with Che t-shirts, it was a resounding success. If all I had to base my conception of the man on was this movie, I really wouldn’t know what the big deal was.  Soderbergh’s Guevara lacks the passion, vitality, and (in all but one instance) the oratory flourish commensurate with the honour of being made into a t-shirt logo.

The moment that deserved and received the most enthusiastic applause was the announcement that there would be a 20 minute break in between the two parts, at the moment entitled The Argentine (Part I) and Guerrilla (Part II).  The final moments I saw of the film (I did not stick around for the credits) was made up of a black screen and appropriately somber and inappropriately heartless mood music.  I suppose the gutless musical exit is only inappropriate to the subject matter; it is perfectly in tune with the film.  As the audience took that as their cue for Freedom, the majority rose and perhaps 20% of the audience clapped.  As others who attend TIFF will confirm, almost any film that shows any sort of ambition receives thunderous applause at the end, as a courtesy and validation for $20+ spent on a single ticket if nothing else.  Che, due most likely to the taxing length and slow grind it represents to a viewer’s endurance when seen in one morning (and early afternoon), received something between a smattering and a courteous applause as most rose to flee the theater and defile nearby washrooms.  At my only other TIFF experience, a screening of the horribly thoughtless and disappointing anime Steamboy, the ending was greeted with a baffling cacophony of applause.  So certainly the quality of a TIFF movie, in my opinion, can hardly be gauged by the audience’s reaction.

My reaction, beyond groggy boredom, was that of disappointment.  The subject matter deserves a better film and a better approach, regardless of political leanings.  In fact, I believe the subject of Ernesto Guevara is best served focusing on the character’s passion and dedication, and perhaps the telescopic vision that allowed him to overlook and play a part in acts arguably heinous to achieve heroic at least in intent.  No matter where a viewer may lean politically, if a film is to focus on the character of Che, the man can be explored as a character study in obsession and vigour.  I would just as strongly propose such an approach to a film on Milton Friedman.  Soderbergh’s Che is a Che sanitized and left an empty husk:  Soderbergh’s Che hardly explores character or human relationships; it inspires no passion, and provides no call to activism, or even call to condemnation.  It attains a near-neutrality on strength of banality and a lack of connection to the character, events, or ideals.  As the first five minutes of either part suggests (an introduction to Che’s area of operations for each half of the film, highlighting countries, provinces, cities, and prominent regions by colouring in a map in a deliberate instructional manner while accompanied by soft music), this film is a simplified lecture on the adult life of a polarizing figure, trying to capitalize on a surfeit of invested emotion already prevalent in the subject matter as it ponderously recounts the travails of Ernesto ‘Che’ Guevara.

… and the cow goes moo

In a surprise move, IFC Films has picked up the US distribution rights for Steven Soderbergh’s Che movies, The Argentine and Guerilla, beating Magnolia Pictures to the punch. Apparently, IFC will first release the movies as a single, four and a half hour feature for one week in December for Oscar consideration, then re-release them in their separate forms in January.

Source

Steven Soderbergh sure seems to love biopics…Indeed, after Kafka, Erin Brockovich, his two Che films The Argentine & Guerilla, and the forthcoming The Informant about former vice president Mark Whitacre, the acclaimed director is now set to helm a movie based on Wladziu Valentino Liberace.

Liberace was an infamous American pianist/showman active from 1936 to his death in 1987 who struggled with continuous accusations of homosexuality, something which should play a significant part in the film. Michael Douglas (King Of California) is the frontruner for the lead role while Matt Damon (the Bourne films) is in talks to portray Liberace’s alleged lover Scott Thorson.

Due to a very busy schedule, Soderbergh won’t be able to start shooting until 2010. Here’s a video of Liberace performing in Las Vegas.

Source

Hola encontrar 4 clips de El Argentino en la pagina de Benicio del toro espero que les guste Haga clic en los enlaces de abajo para ver los clips de el Argentino

Hello find 4 clips from The Argentine in the page Benicio del Toro I hope you like it Click on the links below to view clips from The Argentine

Clip 1

clip 2

clip 3

clip 4

Source:Cine365.com

Source:beniciodeltoro.ca

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• Here’s the schedule for the screening of  The Argentine and Guerrilla at the Toronto International Film Festival:
• The Argentine
  Tuesday, September 9, 2008 at 9:00 PM
  Thursday, September 11, 2008 at 2:30 PM
• Guerrilla
  Wednesday, September 10, 2008 at 9:00 PM
  Friday, September 12, 2008 at 2:30 PM
  
  Please note that on Thursday, September 11th,both films will be screened as one single film,with a 15-minute break between the two parts.
• The official website for The Argentine and  Guerrilla is now  available
  in Spanish. Click on the photo below to access the website.




Source:Benicio del toro

Source:TIFF.com




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Revolutionary Update: IFC will distribute the film, not Magnolia…more about that here.

Finally! Magnolia Pictures will distribute the Steven Soderbergh (the Ocean’s trilogy) biopic Che in the US. Yes, you read that right, it will apparently be released as one film in the States instead of the two-parter The Argentine and Guerilla other countries are having (or are they?).

The movie(s) premiered at this year’s Cannes Film Festival to very enthusiastic response and went on to win the Best Actor prize for star Benicio Del Toro (Things We Lost In The Fire), which is why it’s so surprising it couldn’t find a distributor until now.

Magnolia hasn’t announced a date yet, but you can expect the film(s) to be released sometime in December in America. If you live in Spain however, you can check it (them?) out right now.

Source

IMP Awards has got its digital mitts on the new one-sheet from Steven Soderbergh’s epic Che Guevara biopic, which is going under the alternating titles of Che, Guerilla and The Argentine – what the final title will be depends on whether or not Soderbergh decides to run the movie in its full four-hour cut or split it into two seperate flicks.

Title confusion aside, the poster, while perhaps not as iconic as the well-known image that graces many an oblivious student’s wall, gives an exciting pictorial look at what is sure to be an intriguing (if potentially very long) expose of the revolutuionary leader’s fight. Che, or whatever it may be called is due for release here in early 2009.

The Argentine and Guerrilla will be the opening films of the 29th Porto International Film Festival in Portugal which will take place from February 20th to February 28, 2009.

The presence of Fantas in Cannes with his usual stand resulted in success without precendentes. More than 200 “screeners” of films (feature and short films) have been proposed and is now subject to an examination of the selection committee of the International Film Festival of Porto. The approximately 500 visionamentos made by the team of five elements of Fantasporto who was at Cannes and subsequent contact with manufacturing companies already provide a considerable number of films for the three competitive sections (Fantastic Film, Week of Directors and Orient Express) of the 29 th edition of Fantas.
Among the selected films are departing as the Hungarian winner of the FIPRESCI prize in Cannes film festival, “Delta” by Kornel Mundruczó, a director known by the public of Fantas films as “Pleasant Days” and “Johanna” or the South Korean ” Hansel and Gretel “by Yim Sung-Phil and” The Chaser “from Hong-Jin Na, present in this section of the official event.
Note that the closure of entries for the Fantas happens only to December 15 next, but the importance of many of the films received visas interest of the team planning the Fantasporto.
The twenty-ninth edition of the International Film Festival to be held in Porto the day between February 16 and March 1, 2009 publicised in the 61st edition of the Cannes film festival by international media, targeting not only the means of production Europeans and Asians, but also to the U.S. market.
The Fantas thus won for Portugal a very strong image, remaining among the “leading festivals of the world” as the news magazine Variety, the bible of the movie, which relates specifically, in one of its editions published during the fair, the opening of 2009 edition of Fantas with the film “Che” by Steven Soderbergh.
The Lusomundo Audiovisuals will continue to work with the festival through the transfer of rooms during the Fantas 09, in addition to the films that integrate the various sections competitive.

Att:Marcela

Source:Fantasporto

UPDATE ABOUT THE FILME CHE (THE ARGENTINE,GUERRILLA)

Estreno mundial: Miércoles, 21 de mayo de 6.30 pm
Segunda selección: jueves, 22 de mayo de 1.15 pm

The two parts of Steven Soderbergh’s project about Che – also known as ‘Guerilla’ and ‘The Argentine’ – are to have their world premiere at the Cannes Film Festival,

World Premiere: Wednesday, May 21, 6.30 pm
Second screening: Thursday, May 22, 1.15 pm

Source:cannes film festival

Overview

Directed by:Steven SODERBERGH
Country:USA, FRANCE, SPAIN
Year:2008
Duration:268 minutes

Credits

Steven SODERBERGH
- Director
Alberto IGLESIAS
- Music
Pablo ZUMARRAGA
- Film Editor
Anxton GOMEZ
- Set Designer
Peter BUCHMAN
- Screenplay
Peter ANDREWS
- Cinematography

Actors

Benicio DEL TORO

Synopsis

PART ONE

On November 26, 1956, Fidel Castro sails to Cuba with eighty rebels. One of those rebels is Ernesto “Che” Guevara, an Argentine doctor who shares a common goal with Fidel Castro – to overthrow the corrupt dictatorship of Fulgencio Batista.

Che proves indispensable as a fighter, and quickly grasps the art of guerrilla warfare. As he throws himself into the struggle, Che is embraced by his comrades and the Cuban people. This film tracks Che’s rise in the Cuban Revolution, from doctor to commander to revolutionary hero.

PART TWO

After the Cuban Revolution, Che is at the height of his fame and power. Then he disappears, re-emerging incognito in Bolivia, where he organizes a small group of Cuban comrades and Bolivian recruits to start the great Latin American Revolution.

The story of the Bolivian campaign is a tale of tenacity, sacrifice, idealism, and of guerrilla warfare that ultimately fails, bringing Che to his death. Through this story, we come to understand how Che remains a symbol of idealism and heroism that lives in the hearts of people around the world.

source:Festival Cannes

Ahora, cuando se cumplen 40 años de aquellas protestas, un icono de la época, el “Che” Guevara, regresa a la primera línea del certamen francés, que arranca el 14 de mayo.

Nada menos que una monumental obra de cuatro horas, “Che”, componen “The Argentine” y “Guerrilla”, las dos partes del homenaje al guerrillero argentino Enesto “Che” Guevara, que llevará el rostro del puertorriqueño Benicio del Toro dirigido por Steven Soderbergh, el director estadounidense que hace casi 20 años ganó la Palma de Oro con “Sexo, mentiras y cintas de video”.

Madrid-In the 60-year history of the Cannes Film Festival, the prestigious film festival only shut down the projectors on a single occasion: in May 68.

Now, when they met 40 years of those protests, an icon of the era, “Che” Guevara, returned to the forefront of the French event, which starts May 14.

Nothing less than a monumental work four hours, “Che” composed “The Argentine” and “Guerrilla”, the two sides of the Argentine guerrilla eneste tribute to “Che” Guevara, who bear the face of the Puerto Rican Benicio del Toro directed by Steven Soderbergh, the American director who almost 20 years ago won the Palme d’Or with “Sex, lies and videotapes.”

source:google

20) The Argentine/Guerrilla

A Che Guevara biopic from Steven Soderbergh (Traffic). Guevara will be played by Benicio Del Toro, who is always fantastic.

imdb

19) Be Kind Rewind

Michael Gondry is directing, and his films have all been unique and moving. This looks just plain fun.

imdb

18 ) Where the Wild Things Are

Spike Jonze (Being John Malkovich, Adaptation) has always been wonderful, and this is a great story. Plus, this is Paul Dano’s first starring role. Hopefully this actually comes out this year.

imdb

17) Bruno: Delicious Journeys Through America for the Purpose of Making Heterosexual Males Visibly Uncomfortable in the Presence of a Gay Foreigner in a Mesh T-Shirt

As much as I loved Borat when it first came out, I’m a little sick of it now. However, that doesn’t make me any less excited for Bruno. This should be completely over-the-top.

imdb

16) The International

From the director of Run, Lola, Run. It’s got Clive Owen and Naomi Watts in the lead roles. That’s all I know, but I can’t wait to see it.

imdb

15) The Wrestler

The only reason this made it on the list is because Darren Aronofsky, who made The Fountain and Requiem for a Dream, is the director. I love his past work, and so while I’m looking forward to this, I honestly don’t think it looks all that great. Hopefully I’ll be wrong.

imdb

14) Harold & Kumar Escape From Guantanamo Bay

It was either this or Seth Rogen’s Pinapple Express. Only one stoner comedy could make the list. This, in my opinion, had a much funnier trailer, so here it is.

imdb

13) Body of Lies

This is a new Ridley Scott crime thriller starring Leonardo DiCaprio and Russell Crowe. All the big names give me hope.

imdb

12) Revolutionary Road

Stars Kate Winslet and Leonardo DiCaprio, and is directed by Sam Mendes (American Beauty). This has oscar written all over it, which means it’ll probably crash and burn, but we’ll see.

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11) Synecdoche, New York

Anything involving Charlie Kaufman is at least worth a look. He’s the mind behind films like Adaptation, Eternal Sunshine of the Spotless Mind, Human Nature, and Being John Malkovich. This is his first time directing, and he’s got Philip Seymour Hoffman in the lead role. It’ll be good.

imdb

10) The Curious Case of Benjamin Button

Based on the book by F. Scott Fitgerald. Directed by David Fincher (Seven, Fight Club). Stars Brad Pitt and Cate Blanchett. Mhmm.

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9) Quantum of Solace

Casino Royale’s follow up. They’ve got a great director for this one (Marc Forster), and Daniel Craig is back as bond. I’m excited.

imdb

8 ) Indiana Jones and the Kingdom of the Crystal Skull

Even if this turns out to be awful I’ll be there opening day. It’s a guaranteed fun time.

imdb

7) The Lovely Bones

It’ll be great to see Peter Jackson directing again. This will probably be more in the vein of Heavenly Creatures, smaller budget and all. Saoirse Ronan, the incredible child actor from Atonement, is the star. Can’t wait.

imdb

6) Wall-E

The new Pixar film. I’ve enjoyed everything they’ve put out so far (maybe not Cars, though), and I think this looks as good, if not better, than all of them, even Ratatouille and Finding Nemo.

imdb

5) Australia

This is Baz Luhrmann’s follow-up to Moulin Rouge. It should be epic, beautiful, and daring, just like everything he’s done in the past.

imdb

4) Harry Potter & The Half-Blood Prince

Director David Yates is back. Considering how well he did with Order of the Phoenix, despite it being my least favorite book, I can’t wait to see what he can do with Half-Blood Prince, which just happens to be my favorite of the 7 books. I actually expect this to be the best Harry Potter yet.

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3) Burn After Reading

This is high on the list for no other reason than it’s the new Coen brothers film, and last year’s No Country for Old Men was pretty amazing.

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2) Ponyo on a Cliff

Legendary anime director Hayao Miyazaki’s (Spirited Away) swan song. This, unlike most animated films, will be done with water-colors. No CGI, completely hand-drawn. It’ll be beautiful. Plus, Miyazaki’s managed to never make a bad movie.

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1) The Dark Knight

My most anticipated for mostly obvious reasons. Batman Begins was pretty incredible, and all signs are pointing to the sequel being even better.

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