Alejandro Jodorowsky

The Dance of Reality

Long gone is the ‘70s golden age of midnight movies, psychedelic surrealism, and film industries’ deistic attitudes towards auteurs. Perhaps no filmmaker’s career has suffered more from this change in commercial and cultural sensibilities than Alejandro Jodorowsky, who birthed the successive cult staples El Topo and The Holy Mountain in the 1970s but has only seen the realization of sporadic (if no less brilliant) productions since. All of which makes it all the more amazing that Jodorowsky has experienced something of a quiet career renaissance in 2014 as the subject of Frank Pavich’s documentary Jodorowsky’s Dune and as the director of The Dance of Reality, the filmmaker’s first completed feature in nearly a quarter century. Yet for the never-not-great-news of new Jodorowsky, these two films hardly feel like a collective appreciation for an underappreciated artist in the twilight of his career, despite the direct relationship they share (Jodorowsky’s Dune reunited the filmmaker with producer Michel Seydoux, which resulted in The Dance of Reality). Jodorowsky’s Dune and The Dance of Reality present a tale of two Jodorowskys: one an eccentric and hyperbolic personality dictating an uncompromising and supreme vision, the other an octogenarian artist using what might be his final venture behind the camera to reflect on his work’s relationship to his family history and ethnic identity. One film chronicles a work never completed, while the other bears all the burdens and wisdom of a late career entry.


The Shawshank Redemption

The best movie culture writing from around the internet-o-sphere. There will be a quiz later. Just leave a tab open for us, will ya?


Dance of Reality

After a hundred-year absence, Alejandro Jodorowsky is back with a new film that promises to be as inventive and visually adventurous as his earlier work. The autobiographical Dance of Reality waltzes through the filmmakers childhood in Chile, although it’s doubtful that it moves in a straight line. After all, Jodorowsky is the kind of storyteller who would make Dali blush. Alongside the recent Jodorowsky’s Dune, which chronicles the failed attempt to bring Frank Herbert’s sci-fi series into bizarre filmic reality, it feels like we’re in the middle of a small Renaissance for the man behind El Topo, Santa Sangre and more. Fortunately, we got our hands on a clip from his latest work, and if there’s anything weirder than watching a Jodorowsky movie, it’s watching a scene from one without any context. Enjoy:


ff jodorowskys dune

After the success of his film’s El Topo and The  Holy Mountain, Alejandro Jodorowsky was given the green light to make whatever he wanted. Without hesitation he elected to adapt Frank Herbert’s Dune. He had never read the book, and instead had only heard from a friend that it was good. His decision turned out to be one that he’d never regret, it would go on to haunt and influence the rest of his life and play a pivotal role in the future of science-fiction film. An artist first and filmmaker second, Jodorowsky aimed to assemble a team of warriors who fought for artistic merit over money. Luckily, producer Michel Seydoux was not only one such warrior but also one who could scare up big money to bring the collective to fruition. The talent pool for the project was impressive, especially by today’s standards. It included such notable  names as Dan O’Bannon, Jean (Moebius) Giraud, Salvador Dali, Orson Welles, David Carradine, H.R. Giger and Pink Floyd (that’s the short list). Jodorowky wanted to create a film that would open minds and expand audiences’ consciousness, to subject them to an eye opening experience unlike anything they had ever seen. Combining Herbet’s space opera with his own blend of amped-up psychedelic spirituality, everything was in place for Dune to be the  mind-bending epic of his dreams. Then it slipped away.


Jodorowsky Dune

The best movie culture writing from around the internet-o-sphere. Just leave a tab open for us, will ya?



Alejandro Jodorowsky is, perhaps more than any other living filmmaker that comes to mind, a visionary who stands entirely alone. His influences come from multiple sources – surrealism, the spaghetti western, theater, etc. – but he is loyal to no particular artistic movement or historical moment. He’s a brazenly original, playfully anarchistic, uncalculating provocateur and walking anachronism whose work speaks to and across various artistic traditions, belonging exclusively to none. Born to Jewish Ukranian parents in Tocopilla, Chile in 1929, Jodorowsky grew to acquire such a dedicated interest in arts and theater that he moved to France in the 1950s to study mime with Etienne Decroux before starting a career in cinema with his short La Cravate in 1957. Since then, Jodorowsky became the helmer of midnight classics like the acid western El Topo and his psychedelic John-and-Yoko-funded Brechtian epic The Holy Mountain (The IFC Center puts both these films on midnight rotation at least once a month). Jodorowsky also famously attempted an ambitious but never-realized adaptation of Dune and recently completed his seventh feature film, The Dance of Reality. Both The Dance of Reality and the documentary Jodorowsky’s Dune premiered at this year’s Cannes film festival, so the esoteric filmmaking veteran (at age 84) is suddenly experiencing a peak in the spotlight. Here’s some free film school wisdom we can learn from the man who officiated Marilyn Manson’s most recent wedding.



In one of the best panels in recent memory, Guillermo del Toro and Nicholas Winding Refn chose to combine their allotted time in Hall H (for Don’t Be Afraid of the Dark and Drive respectively). What resulted was a rare conversation from two unique filmmakers who transcended the normal marketing mechanism of Comic-Con to deliver some insight and information about their processes. There were many different facets to it, and they talked about their movies some of course, but ultimately it became a master class in making films. So here’s a little bit of free film school from two visionaries.

Twitter button
Facebook button
Google+ button
RSS feed

published: 01.25.2015
published: 01.24.2015
published: 01.24.2015
published: 01.24.2015

Some movie websites serve the consumer. Some serve the industry. At Film School Rejects, we serve at the pleasure of the connoisseur. We provide the best reviews, interviews and features to millions of dedicated movie fans who know what they love and love what they know. Because we, like you, simply love the art of the moving picture.
Fantastic Fest 2014
6 Filmmaking Tips: James Gunn
Got a Tip? Send it here:
Neil Miller
Managing Editor:
Scott Beggs
Associate Editors:
Rob Hunter
Kate Erbland
Christopher Campbell
All Rights Reserved © 2006-2014 Reject Media, LLC | Privacy Policy | Design & Development by Face3