Alejandro Jodorowsky said that film is a kind of therapy, a kind of exploration of deep consciousness, and I am amazed at how he can integrate so many issues and make it so beautiful and strange in one go. About memory, about belonging, about patriarchy, about war, about communism, about race, about identity, about the world of representation, about God, about growth, about love.
It is said that this is AJ's closest work to the surface of the earth, why is it close, because in the play he is not only pursuing a vague artistic conception or spirit, but an extremely private self-talk, even self-redemption.
AJ's own son, Brontis Jodorowsky, said in QA that he didn't think he was playing his grandfather, but the character in his father's script. We don't know how terrifying and authoritarian AJ's father is in reality. The reality of life has passed, and the childhood AJ no longer exists. But today's AJ can edit and rewrite this memory, and even beautify it.
Give yourself to fantasy and live like this.
AJ's wild imagination and his son BJ's professional attitude God let them go beyond father and son and take this relationship to another level, which is really very interesting. How sharp and detached is it that his son becomes the incarnation of his father.
Compared to the Blasphemy trilogy, this film is very kind and lethal. At least I silently shed several tears, and then was completely healed at the end of the film.
The Jodorowskys really run the movie as a family business. I just want to ask, is AJ interested in publishing a soundtrack for his other eldest son (or second son?) who is in charge of arranging?
My monologue to the soprano and the elder (is it AJ himself) Really unforgettable.
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