The essay "Neo-Surrealism - Alejandro Jodorowsky" discusses surrealists and, especially, Alejandro Jodorowsky. Surrealists also believed in the omnipotence of dreams. After the surrealist movement, like many other movements, certain people felt that theirs was still more that could be derived from the movement, particularly as it concerned their time; so they brought it back. These set of people that decided to bring back surrealism in their own age, are the neo-surrealists. One of them is Alejandro Jodorowsky. Alejandro Jodorowsky is known to be a man of many parts; he is an author, a spiritual leader, filmmaker, playwright and an actor. Many of his works shift towards avant-gardism. His works are not like the average work that would be found in the time they were produced. Even now, his work will still be strange, at least in the surreal sense, yet they still apply to present times. They are often filled with images that are violent and surreal. They are also filled with a mix of religious mysticism and provocation. As a result of the “never-do-well” feature that can be found in many of his movies, one would realize that there seems to be continuity in his works. Jodorowsky’s move into surrealism did not start all of a sudden. There are insinuation that it may have started since the time he was very young. In fact, he may be said to have really had every course to embrace the movement as he did. Being raised in a family that he hated would have definitely taken its toll on him.
(Jodorowsky 39-40, 140). He also had contempt for the people who lived in his neighbourhood because most of them saw him as an imposter, as a result of the fact that he is the son of an immigrant (Jodorowsky 39-40, 140). All these experiences inadvertently had effects on the kind of works he produced, although not exactly in the manner in which it had happened to him. In “El Topo”, in which he starred and also directed, Jodorowsky may be said to have depicted a version of the uncertainties of life. As always, he does this by presenting a dream-like world. Yet, one would discover that, because no literature can totally annul its link with real life, “El Topo” is very much a story that can happen in real life. It is about a Mexican brigand who takes on a journey with the sole end of enlightening himself spiritually. Yet, while on the journey with his young son, he seems to be unable to take away his violent part. The violence depicted in this movie may have something to do with the director’s upbringing. He attacks people before he kills himself. He later ascends to society where deformed people are unable to escape the cave where they are. Like in almost all his movies, he depicts a distorted reality. We, as humans, all have the idea of what is perfect, yet most times we do not attain it. The best we often do is to aim at it because in reality, perfection cannot be attained because our reality is distorted. Of “El Topo”, Jodorowsky (97) says "I ask of film what most North Americans ask of psychedelic drugs. The difference being that when one creates a psychedelic film, he need not create a film that shows the visions of a person who has taken a pill; rather, he needs to manufacture the pill". Against music provided by a six-piece rock band, a set consisting of a smashed automobile, and the visual frisson provided by a cast of bare-chested women (each body painted a different color), Jodorowsky appeared dressed in motorcyclist leather. He slit the throats of two geese, smashed plates, had himself stripped aholynd whipped, danced with a honey-covered