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  • Endless Poetry is absolutely, incessantly, unceremoniously weird, but kind of astonishing. In other words, a typical Jodorowsky film. Continuing his saga of semi-autobiographical films, this tells the tale of Jodorowsky in youth discovering the power of poetry and living out a culturally enriched, eccentric fantasy. T he film is immediately arresting, by virtue of its strangeness. People in black suits appear to take items out of characters hands at random moments across the film. One of the characters sings every line she has, for no explicable reason. There is so much imagery packed into each frame that any attempt to understand their meaning is pointless. Endless Poetry is amovie that most people would probably not have the patience for. Under objective terms, it verges on incoherent, pretentious, unintentionally funny and flagrantly self-aggrandising (imagine if Scorsese, Nolan or even David O'Russell decided to make a trilogy of films about their own lives) where very little makes sense. But Jodorowsky films defy categorisation. There's this peculiar, unique spell the film takes on where a minority of the audience will become enraptured in the pure strangeness, as well as Jodorowsky's infectious enthusiasm and "joie de vivre" that pours out of every frame.

    Being a Jodorowsky fan I enjoyedthis, but this film is certainly not for every one. However if you arelooking for something incredibly different to watch, perhaps you willfind the endearing, beautiful, non-hagiographic ode to life that i found, or you will hate it and switch it off after ten minutes. For me, anyway, it was a film that offered many rewards, especially as Jodorowsky is a filmmaker so wondrously unique that anything he makes is immediately compelling.
  • 88 year old art, poetry, movie, theatre and spirituality guru Alejandro Jodorowsky returns with another bonkers screen story about his youth, which does not resemble any other thing you may be used to catching at your local multiplex. Jodorowsky's younger self is played by his 37 year old son Adan – think Andy Samberg without a stupid grin – and the story narrates the artist's youth during which he liberated himself from all of his former limitations, including strict parents, and was introduced into the bohemian artistic circle of 1940s Chile. If you are like me – familiar mostly with mainstream cinema and not familiar with Jodorowsky at all – „Poesía sin fin" („Endless Poetry") will be most curious experience indeed. The 128-minute journey resembles experimental play rather than movies as we like to think about them in traditional sense, but in this case, it's a good thing. The resulting comic-dramatic-weirdness explosion is packing so many enjoyable things and details to digest that only very smart people really „get it", probably. But first and foremostly, art is not for the mind, and just by watching I can tell that the movie has lot of heart. It could probably benefit from being shorter, the last third feels a bit stretched out – maybe because the visual side feels so rich and inventive that it wears many down eventually. But the whole thing is so unusual and good-weird that it's easy to recommend it. If you watch at least ten minutes from the start, you will know if this kind of thing is right for you. Even if it's not your cup of tea, you would probably like some parts of Jodorowsky's seemingly endless inventiveness and wackiness. It may go on for too long, but the ending is powerful, especially if you are familiar with depth psychology and symbolics related with it. Jodorowsky is. During his colorful life, the man has founded his own therapeutic practice psychomagic which uses aspects of eastern philosophies, mysticism and psychoanalysis to heal patients with emotional problems. You know, just saying.
  • Alejandro Jodorowsky's visually-exaggerated fantastical portrayal of his own past continues, beginning by cleverly playing off imagery from the first film, THE DANCE OF REALITY (2013), and thus making it clear that this is an ongoing narrative.

    In this case we see young boy Alejandro arriving in Santiago Chile with his strong-willed father and his mother with her unique form of communicating... There, he grows into a teenager and then a young man who discovers his greatest desire is to become a poet, against the wishes of his father. Leaving his family he seeks out other artists and the unhindered artist lifestyle. The unique characters he meets on his journey...well, that's a big part of the story.

    There were a couple scenes in this film that seemed slightly self indulgent, which detracted from the feeling of complete pure story that I experienced with the first film. But that's not intended as a strong criticism of the entire film. It felt like a middle film in a trilogy sometimes feels, having it's points to make. Overall, it's an entertaining continuation and is at times emotionally powerful.

    The original plan was to film five "memoirs" total...I hope he makes it to the end.
  • There is no doubt that Poesía Sin Fin represents the highest and most astounding manifestation of Jodorowsky's cinematic work.

    The Film is a pure, honest and unpretentious expression of the director's youth. It is a journey which takes us by the hand and invites us to see the world differently, through the eyes of the poet ; for whom the possibility of a Life filled with drive, desire, wonder and ultimately, freedom, liberated him from the person he was not.

    A must-see masterpiece rich with many many layers of interpretation ; from the most naive youth-driven imaginary to the deepest most mature form of reflection and expression.

    Cinema that heals, cinema that explores, cinema that inspires, truly and deeply.
  • YesWeCan201712 January 2020
    Think Cocteau meets David Lynch with the colourful brilliance designed for the 4K HD TV sets we've been inundated with

    Great visuals with hilarious storyline yet still a powerful message

    Thank you
  • Outré Chilean cult stylist Alejandro Jodorowsky has broken a protracted 23 year hiatus in 2013 with THE DANCE OF REALITY, an autobiographic treatment based on his own memoir, and ENDLESS POETRY is its sequel, in the beginning, departed from his hometown Tocopilla, a teen Alejandro (Herskovits) is transferred to Santiago with his parents Jaime (Brontis Jodorowsky, Alejandro's eldest son in real life) and Sara (Flores), all three continue their roles from TDOR.

    Exhorted by his martinetish father to become a doctor, the gawky Alejandro takes a rebellious act in plumping for poetry as an outlet, introduced by his gay cousin Ricardo (Carrasco), he leaves home and stays with a cohort of amateur artists and soon an adult Alejandro (played by musician Adan Jodorowsky, Alejandro's youngest son) meets the avant-garde poetess Stella Díaz Varín (Flores too), overwhelmed by her prowess over his manhood, a wide-eyed Alejandro subjects himself to her whims but eventually thinks better of it (after the taste of forbidden fruit). Later he founds camaraderie in fellow poet Enrique Lihn (Taub), but his over-closeness with the latter's dwarf girlfriend Pequeñita (Avendaño) strains their friendship. Eventually, disaffected by General Carlos Ibáñez's ascension to power, Alejandro bids farewell to his friends and motherland, embarks a trip to Paris before squaring up with Jaime whom he will never meet again, told by his old self (Alejandro in person), a second chance only can be conjured up in its filmic illusion.

    First and foremost, the octogenarian maestro still has his outlandish style in check, his trademark magic realism, wedded confidently with an ultra theatrical tableau (that old haunt Cafe Iris, peppered with soporific patrons and senile waiters in its subdued timber), grants his audience a sumptuous feast of chromatic plethora: those varicolored decor, a boisterous shindig, a risqué tarot seance, a devil-cum-death parade, not to mention bold sex exploitation, nothing can curb Mr. Jodorowsky's imagination and recollections, in this sense, the film is a perfect ode to his youth and a left-field Chile of that time. But, yes, there is always a "but", what takes the film's appeal down a peg or two is its relinquishment of mystique, of poetic-ism, of art and of life itself in lieu of visual impact. Its dialog fails to capture the subtlety of words and the film is overtly plain in recounting the vicissitude of incidences, the usage of poetry is self-consciously verbal and evanescent, we are not given enough time to dwell on its connotations before the story rambles on in its episodic reveries.

    Adan Jodorowsky's central performance is adequate at best, affable but far from an engrossing raconteur; Brontis Jodorowsky, on the other hand, sometimes falls into unnecessary cothurnus as if his monstrous father figure is not repugnant enough; but it is Pamela Flores, in her magnificent double roles, one as a domestic mother embodied solely by soprano, another is the red-hair, buxom dominatrix, sets the screen ablaze in addition to the Oedipal tie-in.

    Admittedly, poetry is always a thorny subject to get its full treatment with cinematic parameters, Jodorowsky's attempt has its benign intention, but doesn't give justice to the soul of poetry, nevertheless, it is still a stunning achievement of reminiscence and self-confession, with this auteur's flourish.
  • izzyamare4 August 2019
    This is one of my favorite movies of all time! Thank you. rating = infinity hearts
  • There's hope for the return of Jodo in the first scenes, where the real street is transformed by roll down monochrome photo mural drapes into the street of his youth and we see the child in the shop where his dinero-dominated dad encourages him to put the boot into shop lifters, stripping them naked in the street while his singing mum creates strawberry sponge cakes like the one her brother choked on for her tortured mum.

    However it soon becomes obvious that we are in for two hours plus of not very clever ideas punctuated by some striking images in Christopher Doyle's brilliant colours and some kinky sex that loses it's shock impact at this length. Concepts - the broken mirror,monochrome Cafe Iris, real Jodo's appearances, the bunraku black covered scenery changers, the circle of bohemian artists led by the pierette - come back not as motifs but as indications that the maker has run out of new ideas.

    We get about half an hour of great material buried in the pretentious and increasingly un-funny stodge.
  • Warning: Spoilers
    Spoiler: note the Synopsis here is written by 1 of the producers, exaggerating the value and effects of what is seen in the movie on screen. Notice fancy words like "titan" + "foremost" + "liberated himself from all of his former limitations" , etc. A Not quite accurate promotional blurb here.

    This is a way too long repetitive (while being visually creative) movie with more symbols than any religious books, including bibles. This poetic legacy-insuring movie about the writer/director,Jodorowsky, looks like a homage, honoring of himself - and insuring his poetry is heard, if not read elsewhere. A man attempting to insure his words and images are never lost, if preserved on a (2 hrs+ more min) self-story, as rebel.

    Notice not only is Jodorowsky shown on screen as himself, but apparently others with his name are actors showing him at younger ages. How self-glorifying is this casting ? Is this a paean to the man who long ago created "El Topo" and now is wanting to insure he is never ever forgotten, not now nor later? the usual theme: son who has a strict father rebels and escapes, only to go to other extreme in all physical, emotional, psychological realms, to show his father he was not "that way" – as father was, or as father feared a "maricon !" (a homosexual – the usual fear & accusation to males who did not conform to social strictures of that era…never forgetting it is not 2017 but 1940's in Chile, as it was then).

    Now Jodorowsky, at his older age,appears in film with white hair, with desperate words trying to impart his wisdom (nothing unusual, nothing not read in Buddhist, zen, Taoist, and other philosophical religions too).

    While more interesting at beginning of movie, as plot develops and viewers have not been bombed and splattered with repetitive not-ashamed-scenes of extremes: in sex, in females, in nude bodies, in unusual bodies (not as 'normal'-usual ones), the exhaustion sets in after the first hour. While the colorful, obvious symbols of social-rebellion are shown, and more are depicted, and more are displayed and more…. the " way too much" effect sets in, anyhow.

    Any male who wants to claim superiority to their parent, especially to the Father figure of authority, who is not explored as a character there, but just depicted as a terrible ,cruel father will agree that sons are deprived of their "rights" as children should have, get, demand.

    And as so much is also repeated at end of movie with the 'poor me – I was not treated as I should be" lament (as is so popular and believed by many adult-children and adult-males too) many will say "this movie is also my story" and bleed for their own imperfect parents and deprived-of-hugs childhood. Hooey !

    Had this film been the more tolerable length or made into 2 segments with an intermission in between, perhaps, maybe, the repetitive effect would have dissipated and the author's poetic words (obviously intending to be 'of deep meaning' & wisdom') to teach us, the viewers & audience, what we must never have heard elsewhere nor know ourselves. How demeaning to be treated as if the artistic author knew & learned so much More than 'the rest of us, peons'.

    Spoiler: The film was spoken in Spanish with quick-disappearing English subtitles. The action and images moved quickly so to absorb the dialogue and view the film was a bit tricky. Listening in Spanish and confirming inaudible part with subtitles allowed this reviewer better understanding of what was portrayed than just the reading in English before the next scene explodes on screen.

    It is worth seeing for the visuals, the interesting symbols, costumes, even extreme-rebellious scenes of bodies not commonly viewed in usual films.

    Or see as much as is enjoyable,as much teaching as viewer needs and walk out before the over-long + over-stretched +over-ego-applause -to-author-The-Originator sets in, because then, the viewers of this film walked out looking for light, ....for air, for the bathroom, quickly !

    • - - - - - - -


    More info found : re: Peggy Cordero in Wikipedia Spanish says:in July 2015 when she acted as the mother of main protagonist in his youth ....." but "cast" list on IMDb does NOT list her at all anywhere to be found there....except a found 'trivia' comment.

    see Wikipedia in Spanish for Peggy Cordero- it includes: Peggy Cordero died on July 9,2017 of heart attack. B.1935-d.2017 She was a social activist during Chile's coup & dictatorship and before then, she was also a recognized actor since 1962. (see: images for this name)

    Q: why is hero's "father" or "mother" not listed as characters nor are actors named/ found on IMDb movie site ? see: "contribute.IMDb.com/updates"
  • I thought a few things within the movie were a bit too extreme for me, but none the less I still had an overall great experience with this film. From the start, you immediately get sucked into this world of wonder and excitement, there's this underlying message to it that feels preachy, but for some reason, it never feels forced. I had fun with this movie, it was bright, it was colorful, and it was absurd, but I believe it had a poignant message to it.

    For a more in-depth review, check out my video:

    https://www.youtube.com/watch?v=JDS4f-R8wC4
  • It was very weird for me as it is my first "Chilean" film. But some parts were very beautiful. I think it have excessive nudity which is not really required.
  • Endless Poetry is truly a fitting farewell from Jodorowsky. Taking off from where The Dance of Reality ended, Endless Poetry follows his younger self from late teenage years to adulthood told through his ever increasing awareness of art through poetic expression.

    Seeing him go from a boy trapped by familial traditions finding solace in poetry, to his willingness to embark on a journey in search of his own personal truths, to a life devoted to the answers he sought, it is a movie that by the end of it creates in us an appreciation for art as undertaken by Jodorowsky (for we too were spectators and to an extent participants), and also a feeling of gratitude towards everything Jodorowsky has done for the medium of cinema.

    It is (obviously) bizarre, but endlessly charming, and is a movie that is as sweet a goodbye as can be.

    Thank you Jodorowsky, for everything!
  • Jeremy_Urquhart11 February 2024
    With The Dance of Reality, I feel like it was pretty easy to recommend or not recommend. Those who like Jodorowsky's older stuff would probably like it, and those that didn't wouldn't. Endless Poetry is even easier to recommend or not recommend, because if you liked or disliked his aforementioned 2013 autobiographical film, you will like or dislike this follow-up.

    It's essentially a part 2, continuing the story but not entirely being a repeat of what came before. It's at another stage in the protagonist's life, and that makes things feel just different enough to make it another worthwhile film of his. It's far from one of his better ones, though - I came away from it feeling like it was decent, if a tiny bit disappointing, and pretty much right on par with The Dance of Reality.

    I've seen some people say Jodorowsky wants to do five of these, and saw somewhere else that it'll end up being a trilogy. Either way... clock's ticking, unless Jodorowsky is some sort of immortal being and/or not of this earth (a possibility we can't entirely rule out just yet).
  • Warning: Spoilers
    This is quite an achievement for a film. It proves that if you take enough beautiful and unusual moments and run them through a blender, you get a featureless green glop.

    It's a melange of timeworn circus, theatrical, and slapstick tropes having little discernible direction.

    Poetry spoken in dialog is simply not. Most of the scenes do not turn the action, they are simply there. Shocking or sickening, take your pick. Take your shovel.

    The points are as deftly made as blunt force trauma. Nothing insightful or subtle about this film.
  • serhatkoc18 May 2020
    He is backed by indiegogo and kickstarter campaigns and he is back for good. In my opinion, he made one of the most sensual movies of all time! Thank you Alejandro. Worths every minute.
  • A piece of abstract art more than what you would call a movie. A statement one could say about all the movies of Jodorowsky.

    Descriptions like "good" or "bad" or even "entertaining" doesn't seem to fit on this movie. Indeed, even the word "movie" seems like a stretch. Words you could definitely say are interesting and original. Giving this a rating on a scale seems also inappropriate. I can't say I particularly enjoyed it. In fact I found many of the scenes, especially with nudity, almost unbearable to watch. I also don't feel like I wasted my time though.

    All that being said, I do think this movie is completely authentic. Although often shocking, nothing in here is actually made for pure shock value. Every scene contains so much symbolism and poetic meaning, it feels like you could spend endless amount of time analyzing it and still probably never get to the bottom of it. For that the title "Endless Poetry" is very fitting. This movie is not "trying to be weird", it is just simply very weird.

    I wouldn't recommend this for the entertainment value. More for educating yourself of the fact that this kind of a film also exists in the world. Possibly not enjoyable, but if nothing else, It will definitely be thought provoking. Many say that is the goal of art, and in that way, I suppose Jodorowsky has succeeded.
  • rizwanshaikh115 July 2018
    Please dont watch this movie...i really need to know how Alejandro thinks..this guy is stupid...sex maniac......how on a earth people work in his movie...