Santa Sangre

Santa Sangre nu e clasicul tip de film pe care-l putem arunca in vreo categorie de gen. Prin propria
stilistica mai toate filmele lui Jodorowsky evadeaza din conventii, insa acesta jongleaza cu atributele
horror-ului arthouse: poezie, suprarealism, umor negru, toate amestecate in frame-uri simbolice care
pleaca spontan cu trenul subconstientului.

Un copil crescut intre misticism si magie, un cult matriarhal care venera o sfanta cu bratele taiate si-un
circ care antrena periculul si senzualitatea, asta ar fi introducerea cinematica facuta de Alejandro
Jodorowsky in filmul sau. Fenix, personajul care creste intr-un azil dupa ce mama sa ramane fara maini si
tatal sau se sinucide, devine treptat prelungirea simturilor mamei sale, devine chiar urmatorul gand al ei,
de aici o trimitere subtila la clasicul The Invisible Man.

Santa Sangre e un film in care realismul magic capata o perspectiva freudiana descriind un bumerang
cinematic care provoaca raul si nu il celebreaza gratuit.

Filmul a starnit descrieri care fac apel la Jung, Fellini, Bunuel, expresionism precum si sadomasochism,
multe din acestea fiind o pledoarie care incearca sa defineasca macar o parte din imaginarul regizorului.

Jodorowsky e genul de regizor care vindeca un copil traumatizat cu un pitic si-o fata muta.

Santa Sangre is not your run-of-the-mill-easily-fitting-within-labels kind of film. Through their style most
of all of Jodorowsky’s films break out of conventions, this particular one juggling with the tropes of
arthouse horror : poetry, surrealism, black humor, all of them meshed into symbolic frames that easily
board the subconscious train.

A child born between mysticism and magic, a matriarchal cult venerating an armless saint and a circus
inciting danger and sensuality – this would be the cinematic introduction Jodorowsky would have made
for his film. Fenix, the character growing up in a foster home after his mother losing her hands and his
dad committing suicide, progressively becomes the extension of his mother’s senses, even of her
thoughts (this is a subtle reference to cinema’s classic The Invisible Man )

Santa Sangre is a film in which magic realism gains a Freudian point of view, thus describing a cinematic
boomerang which challenges evil and does not emptily celebrate it.

The movie has stirred descriptions where Jung, Fellini, Bunuel, expressionism as well as sadomasochism,
were all mentioned, many of these descriptions trying their hand at defining at least at tiny fraction of
the director’s imagination.

Jodorowsky is the type of director who can heal a traumatised child with a midget and a mute girl.