La Cravate. Un article de Wikipédia, l'encyclopédie libre. La Cravate est le premier court métrage où Alejandro Jodorowsky fait son apparition. Sorti en 1957, le court métrage a été perdu puis retrouvé par hasard auprès d'un particulier et figure maintenant dans les bonus du coffret dvd L'Univers d'Alejandro Jodorowsky. Le court métrage est en couleurs, muet et dure 20 minutes. Tous les décors sont faits en carton, ce qui lui donne une esthétique très théâtrale, théâtre dont est par ailleurs issu Alejandro Jodorowsky. Synopsis[modifier | modifier le code] Un jeune homme (interprété par Alejandro Jodorowsky) tente de séduire une femme qui est attirée par son corps mais qui repousse son visage. La singularité du court métrage illustre bien l'originalité et l'imagination d'Alejandro Jodorowsky, que l'on retrouve plus encore dans ses films suivants.
Fiche technique[modifier | modifier le code] Distribution[modifier | modifier le code] Lien externe[modifier | modifier le code] Fiche IMDb. 63446163. Le Voleur d'arc en ciel - film 1990. El Topo. Un article de Wikipédia, l'encyclopédie libre. El Topo est un film mexicain réalisé par Alejandro Jodorowsky, sorti en 1970. Synopsis[modifier | modifier le code] Un pistolero, El Topo, se laisse mettre au défi par sa maîtresse de tuer les quatre grands maîtres du désert. Une grande quête métaphysique va commencer pour lui. Fiche technique[modifier | modifier le code] Titre : El TopoRéalisation : Alejandro JodorowskyScénario : Alejandro JodorowskyProduction : Juan López Moctezuma, Moshe Rosemberg, Saúl Rosemberg et Roberto ViskinSociété de production : Producciones PanicasBudget : 400 000 dollars (294 000 euros)Musique : Alejandro Jodorowsky et Nacho MéndezPhotographie : Rafael CorkidiMontage : Federico LanderosDécors : Alejandro JodorowskyCostumes : Alejandro JodorowskyPays d'origine : MexiqueFormat : Couleurs - 1,33:1 - Mono - 35 mmGenre : WesternDurée : 125 minutesDates de sortie : (États-Unis), (Mexique), (France), (ressortie France) Distribution[modifier | modifier le code]
El-Topo. El Topo. All Critics (37) | Top Critics (9) | Fresh (28) | Rotten (9) | DVD (10) The film is by turns comic and profound, hysterical and pompous, fully complex enough to deserve more than a simple yea or nay. A dreary, protracted exercise in sadomasochism. The movie's lure is sensual and unflagging; that's what makes it, for all its arty absurdity, the last great movie of the 1960s. This is gutbucket Luis Buñuel , surrealism on the cheap, and it hasn't dated well -- the blood is patently fake and the gunshots are dubbed. You may find it a tiresome, macho relic -- or a ragtag circus wandering through a fantasy realm part Treasure of the Sierra Madre, part Tolkien's Middle-earth. With style constantly contradicting content, and the prevailing mood redolent of egotism and misogyny, it leaves one the feeling of having waded through a full-blown fantasy where even the self-degradation emerges as just another form of narcissism.
As perplexing as large parts of it are, the film certainly isn't boring. Fando y Lis. Fando y Lis is a film adaptation of a Fernando Arrabal play by the same name, and it is Alejandro Jodorowsky's first feature length film. Arrabal was working with Jodorowsky on performance art at the time. The film was done in black and white on the weekends with a small budget and was first shown at the Acapulco Film Festival in 1968. Plot[edit] The film follows Fando (Sergio Klainer) and his paraplegic girlfriend Lis (Diana Mariscal) through a barren, post-apocalyptic wasteland in search of the mythical city of Tar, where legend has it all wishes come true. [edit] References[edit] Bibliography.
Fando-y-lis3. Fando y Lis (Fando and Lis) All Critics (9) | Top Critics (2) | Fresh (6) | Rotten (3) | DVD (5) An adorable, preposterous mutant film from the heyday of international do-your-own-thing moviemania. For all its invocations of theater of cruelty, Fando and Lis hardly ever scares up anything stronger than unpleasant whimsey. Very much a late '60s freakout, tricked out with car cemeteries and action painting in the nude, the movie is fake-profound but seldom dull. Jodorowsky's lyrical fantasy leaves Fellini and Buñuel spluttering in its dust. unlike in Jodorowsky's later, longer works, here the parade of oddballs, freaks and degenerates never seems to have much drive or direction. You're selling me a bridge, brother.
Undisciplined but not without effective passages, Fando & Lis isn't for all audiences, a work of provocation as much as a work of art. A cross between Luis Bunuel and John Waters. La Montagne sacrée. Un article de Wikipédia, l'encyclopédie libre. La Montagne sacrée est un film de long-métrage mexico-américain réalisé par Alejandro Jodorowsky, sorti en 1973. Le film est librement inspiré du roman inachevé du poète René Daumal, Le Mont Analogue. Synopsis[modifier | modifier le code] Un homme ressemblant au Christ s'introduit dans une tour et y affronte un maître alchimiste.
Après l'avoir vaincu, ce dernier lui fait parcourir les premières étapes d'une initiation, puis lui présente sept personnes qui font partie des puissants de ce monde, chacun d'entre eux étant associé à une planète (au sens astrologique). Fiche technique[modifier | modifier le code] Distribution[modifier | modifier le code] [modifier | modifier le code] Dans la première partie, nous traversons, à la suite de l'innocent au visage de Christ, des scènes qui illustrent la violence, la luxure et la cupidité d'une société mexicaine marquée par la destruction initiale de la civilisation indienne par les Espagnols.
The Holy Mountain. All Critics (21) | Top Critics (8) | Fresh (17) | Rotten (4) | DVD (6) Not even Buñuel with a brainful of Woodstock's bad brown acid could have made something this gloriously screwy. Alejandro Jodorowsky's Holy Mountain is a dazzling, rambling, often incoherent satire on consumerism, militarism and exploitation. April 18, 2007 This is an extraordinary visual concoction, loaded with stunning primary colors, anti-religious caricatures drawn from Diego Rivera and a succession of dreamlike, grotesque vistas worthy of Dalí at his most deranged. Jodorowsky loves to confront the viewer with endless brutality and grotesque decadence and degradation, but here he expresses it with a rich, densely visual imagination. Neither for the faint of heart or the linear of thinker, The Holy Mountain qualifies both as a fascinating period relic and an enduringly transfixing jaw-dropper.
A rambling stream-of-consciousness quest that - in its final, self-conscious act - celebrates the primacy of the filmed image. La-montagne-sacree. Alejandro Jodorowsky's never-made adaptation of Dune is getting a documentary. See, on the one hand, part of me agrees with you unreservedly. But on the other hand...Well, look at something like the Trueman Show. Owes a MASSIVE debt to the work of Phillip K Dick, particularly Time Out of Joint, but at no point does the movie have to acknowlege this, because it's an 'original' work. Then look at Watchmen, which gained nothing from it's slavish devotion to translating the comic to the screen panel for panel. I'm not saying there isn't a sucessful middle ground, but if Jodorowsky had managed to make a great movie inspired by, rather than directly adapted from Dune, then at least frank Hernbert would've got the credit he deserved for originating the basis, and we would've got what was basically an original movie anyway.
Plus, no movie adaptation causes the book to cease to exist, or to become any less a great book than it always has been. So...there's arguments on all sides, I suppose. You make a good point. As far as your last point...depends on the author. Midnight Movies: From the Margin to the Mainstream. Midnight Movies: From the Margin to the Mainstream is a 2005 documentary written and directed by Stuart Samuels, based on his book on the subject.[1] The film chronicles the period between 1970 and 1977 in which six low-budget films shown at midnight transformed the way films are made and watched: El Topo (1970), Night of the Living Dead (1968), The Harder They Come (1973), Pink Flamingos (1972), The Rocky Horror Picture Show (1975), and Eraserhead (1977).
The film was screened out of competition at the 2005 Cannes Film Festival.[2] References[edit] External links[edit] Midnight Movies: From the Margin to the Mainstream at the Internet Movie Database. Midnight Movies: From the Margin to the Mainstream. All Critics (9) | Top Critics (3) | Fresh (8) | Rotten (1) | DVD (7) Samuels' own enjoyment for midnighters comes through in his funky visual design -- visually spunky for a clips-and-talking-heads film -- and in the energetic editing. It's a celebration of cinema-going as a 'ritual experience or trip', a communal adventure with no real equivalent in the exquisitely atomised YouTubeverse. In this affectionate glimpse into those countercultural times, filmmaker Stuart Samuels has compiled an engaging distillation of those nocturnal filmic emissions.
June 3, 2006 An extremely interesting film. Enjoyable, if blandly celebratory. For any movie nut who craves their exhibition history, this is a must see documentary. Samuels' film both contextualises and celebrates these strange slices of subversive counter-culture To the film's credit he does manage to get the major participants together, with each film having a representative key creative person talking about the project.
Tusk (film) Un article de Wikipédia, l'encyclopédie libre. Pour les articles homonymes, voir Tusk. Tusk est un film d'Alejandro Jodorowsky réalisé en 1980. Il s'agit d'une adaptation du roman Poo Lorn l'éléphant de Reginald Campbell; c'est l'histoire du lien qui unit une petite fille anglaise et un éléphant d'Inde. (en) Tusk (film) sur l’Internet Movie Database Portail du cinéma français. JEAN-GIRAUD-DESSIN-POUR-L-AFFICHE-DU-FILM-TUSK-DE-JODOROWSKY-1980. Santa sangre. Un article de Wikipédia, l'encyclopédie libre. Santa Sangre est un film italo-mexicain réalisé par Alejandro Jodorowsky, sorti en 1989, qui raconte la vie d'un jeune homme schizophrène qui est né dans l'univers du cirque.
Santa Sangre est un film méconnu du grand public qui contient de multiples caractéristiques qui en font un film à part dans le septième art, dans la lignée directe de Freaks. Synopsis[modifier | modifier le code] Flashback[modifier | modifier le code] Le spectateur apprend que Fenix a grandi dans un cirque qui appartient à son père, Orgo, un homme couvert de tatouages, lanceur de couteaux, fort mais assez féminin. La mère de Fenix, Concha, est une trapéziste et acrobate. Pendant que la mère est suspendue dans les airs lors d'une représentation, elle voit son mari se rapprocher d'une femme tatouée et partir avec elle. Flashforward[modifier | modifier le code] La deuxième partie du film se concentre sur une orgie de crimes violents. Distribution[modifier | modifier le code] IbogirHdXfMcI1H. Santa sangre (Holy Blood) All Critics (39) | Top Critics (10) | Fresh (33) | Rotten (6) | DVD (9) You can say this: It is never boring. Santa Sangre's content puts it beyond the call of duty for even the most slavishly devoted art-house denizen.
What Jodorowsky lacks is a sense of humor, in the absence of which his films turn ludicrous. Visionary and haunting, Santa Sangre is a mixture of blood poetry and gobbledygook that keeps springing astonishingly to life. The impression is of an old-school horror with sporadically interesting experimental ornamentation. The Mel Brooks of vulgar surrealism, Jodorowsky's basic principle is that if you throw 30 outrageous ideas at the audience, 2 or 3 are bound to make an impression. While it's not especially easy viewing, and unquestionably not for all tastes, Santa Sangre is exhilarating, challenging, enigmatic and distressing, but entirely rewarding and entertaining. More extravagant, but less controlled than his infamous allegorical western, El Topo.