ABSTRACT
How does one approach the artistic trajectory of a uniquely charismatic, controversial and idiosyncratic character whose multifaceted work on both sides of the Atlantic spans more than sixty years? American film critic Roger Ebert recalls his encounter with Alejandro Jodorowsky in Cannes in 1988 thus:
he handed me a typewritten autobiography: ‘was born in Bolivia, of Russian parents, lived in Chile, worked in Paris, was the partner of Marcel Marceau, founded the “Panic” movement with Fernando Arrabal, directed 100 plays in Mexico, drew a comic strip, made “El Topo” and now lives in the United States – having not been accepted anywhere, because in Bolivia I was a Russian, in Chile I was a Jew, in Paris I was a Chilean, in Mexico I was French, and now, in America, I am Mexican.’
(2007)1