Endless Poetry

A portrait of Alejandro Jodorowsky’s young adulthood, set in the 1940s and 50s, in the electric capital city of Santiago. There, he decides to become a poet and is introduced, by destiny, into the foremost bohemian and artistic circle of the time.

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  • ★★★★½ review by Nils Gloistein on Letterboxd

    So glad that  my small art-house cinema showed this.

     Endless poetry is the second part of legendary director Alejandro jodorovsky‘s filmic autobiography that focuses on jodorovsky‘s formative years from about 15-30 when he became a poet, a puppeteer, a humanist, and a clown against his fathers wish to become a doctor. He rejects the paternal wish of making money for his artistic pursuit and finds himself in the most colorful depiction of the past. 

    For 125 minutes you see Alejandro’s memories of his incredible life where (of course) traditional logic is thrown out the window and stomped on in the very first seconds. 

    Certainly debatable for some, but in my ears, seeing jodorovsky recreate his young adult life in his worldview for two hours sounds pure magical. Some argue, endless poetry is self-indulgent (of course, that is the entire pointof the film) and that jodorovsky is „a bit much“ to which I can only say: what did you expect from the guy who made the most spaced-out films ever? I actually wanted this movie to be a freak-show, a ride through his head because Alejandro is incredibly interesting and propably lived a life nobody can even imagine.

    The first hour went by like a train, so many great sequences (Family, earthquake, café Iris for the first time) are equal parts funny, tragic, weird and beautiful. It drags a bit in the middle, but the last half hour is spellbinding once again.

    Endless poetry is shot on digital and at least as visually as his early masterworks el topo or the holy mountain. It is also funny. The audience in my screening laughed their asses off. 

    The use of color (look for red, jodorovsky cloaks everything he loves in deep red) is breathtaking, plus he always finds new ways to block a scene, inventive use of props and actors. 

    Speaking of actors, his sons play him in this autobiography. Adan Jodorvosky is a revelation. first off, because he looks so much like his dad he lends this film authenticity and creates the wonder of seeing a son reliving his fathers past. And if that isn’t enough, he nails everything, Alejandro’s love for poetry, dancing, bravado, acting, the clown appearance and self-conflict (easily the most interesting parts).

    As with all jodorovsky’s, the less you know before you go in, the better, experience this trip with an open mind, let it take you for a ride and throw away any expectations. It’s jodorovsky and even at 87 years of age, he puts most other filmmakers to shame.

  • ★★★★ review by James Healey on Letterboxd

    A sequel to my least favorite Jodorowsky film (The Dance of Reality), Endless Poetry ends up being my favorite Jodorowsky film. Absolutely bizarre and absurd in a way that only Jodorowsky can make work. One of the most personal films I've ever seen from an auteur.

  • ★★★★ review by Mahdi Bahaeddini on Letterboxd

    دومین قسمت از تریلوژی اتوبیوگرافی سینماگر مؤلف و طناز این سال های سینمای خاک گرفته آمریکای جنوبی؛الخاندرو خودوروفسکی.با لحنی عمدتا مبتنی بر رئالیسم جادویی،آنگونه که در "دزد رنگین کمان" دیده بودیم،در تلفیق نامحسوس با مؤلفه های سینمای سوررئال.خودوروفسکی مشتاقم کرد تا عقب گرد کنم و یه سری به فیلم های دیگه اش بزنم تا ببینم چه مسیری رو طی کرده که اینقدر جسورانه و سراپا، با ذهنی باز و سیال فیلم اخیرش رو ساخته.فیلم همچنین هجویست بر دنیای روشنفکری؛اما نه اونطور که انتظارش رو دارید.

  • ★★★★★ review by andrea on Letterboxd

    "I'm afraid of disappointing others."

    "You're afraid to live."

    "What's the point of living?"

    "Living."

  • ★★★½ review by Filipe Furtado on Letterboxd

    “I’m saving my hymen for a man with a divine face arriving from the mountains”.

    Uneven, excessive, sometimes embarrassing but consistent moving. The adjective fellinesque will be throw a lot about this as it was about Jodo’s previous The Dance of Reality, but that don’t makes justice to what Jodorowsky is going for, particular the manner he use his discreet camera movements to wave emotion as well as he sense of place. I thought my misgivings about Dance of Reality was partial about my interest on Jodorowsky the artist be much large than Jodorowsky the man to care for such ambitious autobiographical project, but he is much more at home here. That he is a man lost in time just makes this remembrance more affecting. A heart who can embrace the whole world, indeed.

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