SPOTLIGHT | ALEJANDRO JODOROWSKY
art by nacrowe
to start off with, his films are odd.
and not odd in a manufactured "LADY GAGA wearing a meat dress" kind of way. odd in the sense that his films seem to be a coded expression of deeper moral truths through allegories and narratives that are unfamiliar to me, much like someone studying the indus river valley civilization is at a loss to correlate any meaning out of being left archeological clues with no wider context to deduct meaning.
his films utilize symbols, historical figures and rituals familiar to western judeo-christian belief systems but the context is buried.
and maybe that is the point.
when i think about the surrealist early work of LUIS BUNUEL or the expressionistic work of KENNETH ANGER, i can see coded use of images as a way to 1) sneak-diss the conservative, catholic bourgeoisie society of 1930s spain (BUNUEL) and 2) express one's sexuality in a manner that can slip past censors of 1950s america (ANGER). what i am saying is that the other obvious examples directors involved in the game JODOROWSKY is playing can be viewed in context to their era and surroundings. not the case here.
in HOLY MOUNTAIN there is much screen time given to the idea of alchemy. that out of disparate parts, a new distinctive element can be forged. maybe the idea of meaning is forged from imperfect understandings, and our rituals and symbols are inherently meaningless without the artist's ability to provide context.
or maybe i am still confused by JODOROWSKY, which is probably why i have re-watched his films since college more than a decade ago.