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Del Toro and Bickford hired screenwriter Benjamin A. van der Veen to write the screenplay's first drafts, and their extensive research took them to Cuba where they met with several of the remaining members of Guevara's team in Bolivia as well as the revolutionary's wife and children. It was during this phase of development that the filmmakers discovered Terrence Malick had been in Bolivia as a journalist in 1966 working on a story about Che. Malick came on as director and worked on the screenplay with van der Veen and Del Toro, but after a year-and-a-half, the financing had not come together entirely and Malick left to make The New World, a film about Jamestown, Virginia. Afraid that their multi-territory deals would fall apart, Bickford and Del Toro asked Steven Soderbergh, who was previously on board as producer, to direct. The filmmaker was drawn to the contrast of "engagement versus disengagement. Do we want to participate or observe? Once Che made the decision to engage, he engaged fully. Often people attribute that to a higher power, but as an atheist, he didn't have that. I found that very interesting". Furthermore, he remarked that Guevara was "great movie material" and "had one of the most fascinating lives" that he could "imagine in the last century". Bickford and Del Toro realized that there was no context for what made Guevara decide to go to Bolivia. They began looking for someone to rewrite the screenplay; Peter Buchman was recommended to them because he had a good reputation for writing about historical figures, based on a script he worked about Alexander the Great. He spent a year reading every available book on Guevara in preparation for writing the script. The project was put on hold when Bickford and Del Toro made Traffic with Soderbergh.
Soderbergh shot the films back-to-back in the beginning of July 2007 with Guerrilla shot first in Spain for 39 days and The Argentine shot in Puerto Rico and Mexico for 39 days. The director conceived The Argentine as "a Hollywood movie" shot in widescreen 'scope aspect ratio, with the camera either fixed or moving on a dolly or a Steadicam. Guerrilla was shot, according to Soderbergh, "in Super-16, 1.85:1. No dollies, no cranes, it's all either handheld or tripods. I want it to look nice but simple. We'll work with a very small group: basically me, the producer Gregory Jacobs and the unit production manager". According to the director, the portion set in Cuba was written from the victor's perspective and as a result he adopted a more traditional look with classical compositions, vibrant color and a warm palette. With Guerrilla, he wanted a sense of foreboding with hand-held camerawork and a muted color palette. Soderbergh told his production designer Antxon Gomez that the first part would have green with a lot of yellow in it and the second part would have green with a lot of blue in it.
On 4 December 2008, Che premiered at Miami Beach's Byron Carlyle Theatre, as part of the Art Basel Festival. Taking place only a few miles from Little Havana, which is home to the United States' largest Cuban American community, the invitation-only screening was met with angry demonstrators. The organization Vigilia Mambisa, led by Miguel Saavedra, amassed an estimated 100 demonstrators to decry what they believed would be a favorable depiction of Guevara. Saavedra told reporters from the El Nuevo Herald that "you cannot offend the sensitivities of the people", while describing the film as "a disgrace". A supporter of the demonstration, Miami Beach's mayor Matti Herrera Bower, lamented that the film was shown, while declaring "we must not allow dissemination of this movie". When asked days later about the incident, Del Toro remarked that the ability to speak out was "part of what makes America great" while adding "I find it a little weird that they were protesting without having seen the film, but that's another matter". For his part, Soderbergh later stated that "you have to separate the Cuban nationalist lobby that is centered in Miami from the rest of the country".
In his review for The New York Times, A.O. Scott writes, "Mr. Soderbergh once again offers a master class in filmmaking. As history, though, Che is finally not epic but romance. It takes great care to be true to the factual record, but it is, nonetheless, a fairy tale". Sheri Linden, in her review for the Los Angeles Times, wrote, "in this flawed work of austere beauty, the logistics of war and the language of revolution give way to something greater, a struggle that may be defined by politics but can't be contained by it". In her review for The Washington Post, Ann Hornaday wrote, "The best way to encounter Che, is to let go of words like 'film' and 'movie', words that somehow seem inadequate to the task of describing such a mesmerizing, fully immersive cinematic experience. By the end of Che, viewers will likely emerge as if from a trance, with indelibly vivid, if not more ambivalent feelings about Guevara, than the bumper-sticker image they walked in with".
Che was awarded "The White Camel", the top award handed out at the sixth annual Sahara International Film Festival, whose ceremony took place during the spring of 2009 in the Wilaya of Dakhla at the Sahrawi refugee camps of 30,000 residents. Executive producer Alvaro Longoria, attended to accept the award when Del Toro could not because of filming for The Wolf Man. After dismounting the prize (which was a literal camel), Longoria remarked that "this is real, this is what Benicio and Steven tried to tell in the movie. It's right here, a people fighting a war for their dignity and their land. The principles of Che Guevara are very important to them." However, Longoria returned the live animal before departing, opting for a camel statuette.
Certain Cuban nationals who have taken up residence in the United States on a permanent basis and who meet the requirements set forth in 31 CFR § 515.505(a) are licensed as unblocked nationals, and may participate fully in the U.S. financial system. See 31 CFR §§ 515.505(a)(1) and (d).
Mixing one part Bacardi, one part Chaplin School, and one part CasaCuba, FIU seeks to fully embrace the bold Cuban spirit, bringing the cultural heritage, academia, and industry together in an innovative and immersive partnership experience. 2b1af7f3a8