The closing ceremony brought about a sigh of ‘I knew …
The Life of Nicolas Winding Refn Directed by Me might have been a more appropriate title for Liv Corfixen’s first documentary, which provides a behind-the-scenes insight into the making of her husband’s latest film Only God Forgives. Following on from his remarkable critical and commercial success with Drive, Refn is under pressure to produce more of the same and in doing so satisfy both his financial backers and his artistic ambitions. It is also the first time that Corfixen and the couple’s two daughters have joined Refn for an extended shoot abroad, creating a completely new environment in which he must balance his personal and professional lives.
“I’ve seen Jodorowsky’s ‘Dune’,” director Nicholas Winding Refn announces early on in the new documentary “Jodorowsky’s Dune”, “and it is awesome.” Of course, neither Refn nor anyone else has actually seen the adaptation of Frank Herbert’s famed science-fiction novel that Alejandro Jodorowsky planned to make, because funding fell apart and the film never got made.
Alejandro Jodorowsky, Michel Seydoux, Frank Herbert, Chris Foss, H.R. Giger, Moebius, Magma, Pink Floyd, Dan O’Bannon, David Carradine, Mick Jagger, Amanda Lear, Orson Welles, and Salvador Dali. Yes, that’s quite an array of figures, isn’t it? Frank Pavich’s historically illuminating and expertly constructed documentary on one of the greatest films never made, Jodorowsky’s Dune, screened at the Toronto International Film Festival today.
One of cinema’s great mythmakers, Alejandro Jodorowsky returned to his home town of Tocopilla to make The Dance of Reality, his first film in almost a quarter of a century. It presents a typically surreal account of his childhood and his father’s exploits in the turbulent political landscape of 1930s Chile, but it has particular resonance as it sheds light on the genesis of the ideas that shaped his career in film. The mythology that runs through El Topo, The Holy Mountain and Santa Sangre is on display here, but, rather than forming part of a wholly fictional narrative, it is explicitly presented as Jodorowsky’s conceptualisation of his own ancestral past.
In 1974, the Chilean filmmaker Alejandro Jodorowsky attempted to adapt …