{"id":7077,"date":"2012-08-18T08:00:26","date_gmt":"2012-08-18T06:00:26","guid":{"rendered":"http:\/\/olivierpere.wordpress.com\/?p=7077"},"modified":"2015-08-09T19:04:59","modified_gmt":"2015-08-09T18:04:59","slug":"che-de-steven-soderbergh","status":"publish","type":"post","link":"https:\/\/www.arte.tv\/sites\/olivierpere\/2012\/08\/18\/che-de-steven-soderbergh\/","title":{"rendered":"Che de Steven Soderbergh"},"content":{"rendered":"<div id=\"attachment_7078\" style=\"width: 650px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.arte.tv\/sites\/olivierpere\/files\/2012\/08\/che1.jpg\"><img aria-describedby=\"caption-attachment-7078\" decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-7078\" title=\"Che\" src=\"https:\/\/www.arte.tv\/sites\/olivierpere\/files\/2012\/08\/che1.jpg\" alt=\"Che\" width=\"640\" height=\"442\" srcset=\"https:\/\/www.arte.tv\/sites\/olivierpere\/files\/2012\/08\/che1.jpg 1500w, https:\/\/www.arte.tv\/sites\/olivierpere\/files\/2012\/08\/che1-405x280.jpg 405w, https:\/\/www.arte.tv\/sites\/olivierpere\/files\/2012\/08\/che1-1024x707.jpg 1024w, https:\/\/www.arte.tv\/sites\/olivierpere\/files\/2012\/08\/che1-580x400.jpg 580w\" sizes=\"(max-width: 640px) 100vw, 640px\" \/><\/a><p id=\"caption-attachment-7078\" class=\"wp-caption-text\">Che<\/p><\/div>\n<p>Incompris par la majeure partie de la critique et du public lors de sa pr\u00e9sentation \u00e0 Cannes en 2008 et au moment de sa sortie l\u2019ann\u00e9e suivante, le<em> Che<\/em> (1<sup>i\u00e8re<\/sup> partie\u00a0: <em>L\u2019Argentin<\/em> et 2<sup>\u00e8me<\/sup> partie\u00a0: <em>Guerilla<\/em>) de Steven Soderbergh est pourtant une des grandes r\u00e9ussites du cin\u00e9ma am\u00e9ricain contemporain. C\u2019est aussi un exemple atypique d\u2019entreprise radicale et intelligente au sein d\u2019un syst\u00e8me de production commercial. On a l\u2019impression que le cin\u00e9aste prend volontairement le contre-pied de toutes les conventions des r\u00e9centes (et d\u00e9cevantes car tristement conventionnelles ou acad\u00e9miques) biographies film\u00e9es d\u2019Hollywood, qui souhaitent \u00e0 tout prix expliquer le myst\u00e8re de l\u2019homme ou de la femme cach\u00e9 derri\u00e8re l\u2019ic\u00f4ne. Dans <em>Che<\/em>, au contraire, Soderbergh se refuse \u00e0 toute entreprise psychologique, se contente d\u2019une subtile \u00e9tude comportementaliste, et d\u2019un trait\u00e9 extr\u00eamement descriptif de tactique militaire sur la gu\u00e9rilla cubaine. Ceux qui s\u2019attendaient \u00e0 une fresque \u00e9pique furent d\u00e9\u00e7us, car <em>Che<\/em> adopte le ton s\u00e9rieux et didactique des vrais grands films historiques. On est plus proche de <em>La Prise de pouvoir par Louis XIV <\/em>de Roberto Rossellini que des biopics boursoufl\u00e9s d\u2019Oliver Stone. La structure en diptyque est tr\u00e8s belle. Les deux films proposent en effet la r\u00e9p\u00e9tition en miroir de deux aventures r\u00e9volutionnaires, l\u2019une port\u00e9e par la r\u00e9ussite et l\u2019exaltation (la marche vers la Havane et la chute de la dictature de Batista), l\u2019autre vers l\u2019\u00e9chec (le projet secret de grande r\u00e9volution latino-am\u00e9ricaine qui va s\u2019enliser dans la jungle bolivienne, jusqu\u2019\u00e0 la mort du Che). La dur\u00e9e du film (deux fois deux heures) est \u00e9galement au service du projet, qui accorde plus d\u2019importance \u00e0 l\u2019attente, \u00e0 la fatigue, \u00e0 la discussion, qu\u2019\u00e0 l\u2019action et aux combats, qui sont film\u00e9s avec une sobri\u00e9t\u00e9 qui manque cruellement aux films de guerre actuels. Les moments de bravoure du film sont ses temps morts, et la seconde partie, d\u2019une grande tristesse, fascine par le d\u00e9pouillement de sa dramaturgie. Steven Soderbergh est un cin\u00e9aste cam\u00e9l\u00e9on capable de commandes indigentes ou de ratages mais aussi, quand il en a la libert\u00e9 et l\u2019envie, de films qui repoussent les limites de l\u2019exp\u00e9rimentation dans le cin\u00e9ma am\u00e9ricain, comme les passionnants <em>Bubble <\/em>et <em>The Girlfriend Experience<\/em>, mais aussi le r\u00e9cent<em> Magic Mike<\/em>. <em>Che<\/em> est sans doute la meilleure surprise de sa filmographie, \u00e0 mi-chemin entre le classicisme et la distanciation postmoderne, les conventions des superproductions \u00e0 l\u2019ancienne (surtout dans le choix des acteurs) et un hyperr\u00e9alisme presque documentaire o\u00f9 Soderbergh applique des m\u00e9thodes de tournage ultra-rapides avec sa cam\u00e9ra num\u00e9rique. On n\u2019oubliera pas de pr\u00e9ciser que Benicio Del Toro, impliqu\u00e9 dans la production du projet, est excellent dans le r\u00f4le-titre, parfait de charisme naturel et d\u2019opacit\u00e9 laconique. Il faut noter qu\u2019Olivier Assayas, grand admirateur du film, s\u2019en souviendra lorsqu\u2019il mettra en sc\u00e8ne son magnifique <em>Carlos<\/em> en 2010.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Incompris par la majeure partie de la critique et du public lors de sa pr\u00e9sentation \u00e0 Cannes en 2008 et\u2026<\/p>\n","protected":false},"author":116,"featured_media":7078,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Che de Steven Soderbergh - Olivier P\u00e8re<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.arte.tv\/sites\/olivierpere\/2012\/08\/18\/che-de-steven-soderbergh\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Che de Steven Soderbergh - 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