The Holy Mountain

The film, which confesses to itself, changes its ending into a beginning and thus becomes a myth that both depicts and creates: both are based on the retroactive self-forgetting of humanity, which lies in one thing - forgetting the fiction we create and mistaking it for reality, into which we are born. Fictions and myths are born only in retrospect, today gives birth to the Christs we dream of, and therefore the final metafictional catharsis opens two initiatory paths for the viewer: firstly, not to forget that the film is never more than just a game and a shadow, even if the bourgeoisie ideology of "Realism" has been presenting its shadow play as a window into reality for two hundred years; but above all, not to forget that the end of this film is the beginning of the history we live, just as every society retrospectively manufactures myths of its own beginnings, which console it on the path to the grave. Collective unconsciousness is mirrored here precisely in nothing else, somewhat paradoxically for Jung’s textbook, with whom Jodorowsky's relationship later deservedly withered, than in the fact that it is constantly changing in history, and if there is anything to be seen in its repellent attraction, it is only that desire simultaneously attracts and frightens and hurts even when it satisfies: Joseph de Maistre's quote "every country has the government it deserves" can be changed to "every society has the rulers it longs for," but only with the knowledge that people's unconsciousness forces them to forget that behind their desire for justice, nobility, and life, there is the obscenity of pure power, excrement, and death, which have always inevitably stood at its birth. And thus, they have them, from the beginning of all ages every moment, even on December 6, 2020, on any given day… (06/12/2020)

I turned it off after 45 minutes, I value my time too much to waste it with this LARP cosplaying. (02/04/2009)