The Dance of Reality review

FESTIVAL RATING: 5

BEST NEW FEATURE

A remarkable film finally makes its way to Calgary via the Calgary International Film Festival!

I previously covered Alejandro Jodorowsky in my review of the documentary "Jodorowsky's Dune", a fascinating chronicle of his overly ambitious science fiction adaptation that never materialized. There, Jodorowsky came off as an eccentric but creative figure, bursting with energy and vision. That comes through just as clearly in "The Dance of Reality", a brilliant blend of fantasy and autobiography that is one of the most emotionally straightforward yet densely layered films I have seen this year. 

Alejandro (Jeremías Herskovits) is the son of Jaime (Brontis Jodorowsky, the director's son) and Sara (Pamela Flores). Jaime is an intense Stalinist, but he and his family are at times mocked for their Jewish-Ukrainian heritage. Jaime raises Alejandro with great severity, which at times causes Sara dismay. Meanwhile, older Alejandro (Alejandro Jodorowsky, the director) narrates and appears to guide his younger self. 

"The Dance of Reality" begins, fittingly, at a circus, wherein we see Jodorowsky's re-imagining of his young self. Young Alejandro begins with a long mane of curly blond hair, and this is a source of contention between his father and mother. As relatively mundane as this conflict may seem, more details are revealed that push it distinctly into the realm of the fantastical. Jodorowsky peppers his world with strange elements, ranging from Sara delivering her every line in an operatic aria to the sea retaliating at Alejandro for throwing stones at it. Said scene is directed with passion typical of Jodorowsky, accompanied by an explanation of its metaphorical significance that expresses the scene having a deep meaning to the director. 

Moments like this permeate every element of the film, as its autobiography is enhanced with heavy doses of fantasy. Jodorowsky's father was not actually involved in a plot to assassinate Stalin, yet it's in the movie, setting off a story of self-rediscovery and a great deal of depth. Indeed, Jaime's rediscovery of self, like a great deal of the film, is relevant to young Alejandro in a manner that makes this seem greatly personal to the director. Perhaps in this film can be seen various truths about Jodorowsky's past, or ways he has come to accept it. 

It's not a wholly serious drama, though. Its dose of fantasy is often heavily surreal, and as such the film is far from without humour. The dwarf who serves as the mascot for Jaime's shop, the Casa Ukrania, is consistently humorous. Indeed, there were many moments of humour to be found here, many of which coming from absurd situations in lighter moments. Yet, in darker moments, similar absurdities are much more revealing, and much more deep. 

It's a daring film with a lot to offer, and its style is backed up with immense substance. It's captivating, entertaining, creative, and thematically deep, and it's one of the best films of this year. Jodorowsky could not have made a better return, and movie audiences everywhere will thank him for it, as there really is nobody else who does things quite like him.

10/10