THE HOLY MOUNTAIN (1973)
Alejandro Jodorowsky’s mystical magnum opus The Holy Mountain firmly established the Chilean filmmaker as an auteur of Surrealist Cinema and sparked serious controversy at the 1973 Cannes Film Festival due to its sacrilegious imagery and raw existential symbolism. In this mystical masterpiece Jodorowsky himself plays The Alchemist, a guru who guides a troupe of pilgrims, each representing the planets in the solar system, on a magical quest to Lotus Island where they must ascend the Holy Mountain in search of spiritual enlightenment.

The Holy Mountain takes Jodorowsky’s psychedelic allegorical mastery to another level. Grotesque, transgressive and hypnotizing, it remains a mind-bending excursion into the meaning of earthly wealth and immortality and still serves as a counter-cultural influence on artists as diverse as Peter Gabriel, Erykah Badu and Marina Abramovic, as well as filmmakers such as David Lynch and Nicolas Winding Refn.

Using the original negative, this painstaking 4K transfer was restored in the original aspect ratio, with enhanced original surround-sound audio, and supervised and approved by Mr. Jodorowsky to celebrate the 50th anniversary and the definitive presentation of his legendary magnum opus.

EL TOPO (1968)
The 1970 “psychedelic western” El Topo follows a brazen gunslinger who abandons his young son in a quest to defeat four masters before being rescued by an underground cadre of little people, paraplegic and disfigured individuals who are shunned by society. Championed by John Lennon and Yoko Ono, the film started the “midnight movie” phenomenon, playing at the Elgin Theater in New York for years. The former Beatle would buy the rights to El Topo and secure funding for Jodorowsky’s next film, The Holy Mountain.

Classic Americana and avant-garde European sensibilities collide with Zen Buddhism and the Bible as the mystic title character (played by Alejandro Jodorowsky) takes a bizarre path to allegorical self-awareness and resurrection. As it seeks an alternative to the Hollywood mainstream, El Topo remains the most controversial and violent quasi-Western head trip ever made.

This stunning and vibrant 4K restoration, from the original negative, is presented in 4:3 as it was presented in theaters in 1970, but is also available for the first time in 1:85 widescreen, overseen by Mr. Jodorowsky, who originally envisioned El Topo as a widescreen presentation, in homage to Sergio Leone.

FANDO Y LIS (1968)

Alejandro Jodorowsky’s first feature, Fando y Lis, is a brutal and scathing examination of destructive co-dependence between two lovers conflicted by anguish and the demands they put on one another. Its grotesque and salacious imagery caused a riot at the 1968 premiere in Acapulco Film Festival which Jodorowsky narrowly escaped after having his life threatened, only to have his limousine pelted with rocks by moviegoers. The film was eventually banned in Mexico. Boasting some of his most disturbing images, Fando y Lis, is an extraordinarily ambitious and excessive adaptation of a controversial play by Fernando Arrabal, and sows the seeds for many thematic tropes and themes that Jodorowsky would explore in his later works.

This meticulous restoration, overseen by Mr. Jodorowsky, comes from two sources: the original 35mm negative and the one reel from the duplicate negative, making for the most pristine version of the film available.

PIERROT LE FOU (1965)

Dissatisfied in marriage and life, Ferdinand (Jean-Paul Belmondo) takes to the road with the babysitter, his ex-lover Marianne Renoir (Anna Karina), and leaves the bourgeois world behind. Yet this is no normal road trip: the tenth feature in six years by genius auteur Jean-Luc Godard is a stylish mash-up of anticonsumerist satire, au courant politics, and comic-book aesthetics, as well as a violent, zigzag tale of, as Godard called them, “the last romantic couple.” With blissful color imagery by cinematographer Raoul Coutard and Belmondo and Karina at their most animated, Pierrot le fou is one of the high points of the French New Wave, and was Godard’s last frolic before he moved ever further into radical cinema.

ALPHAVILLE (1963)

A cockeyed fusion of science fiction, pulp characters, and surrealist poetry, Godard’s irreverent journey to the mysterious Alphaville remains one of the least conventional films of all time. Eddie Constantine stars as intergalactic hero Lemmy Caution, on a mission to kill the inventor of fascist computer Alpha 60.

LE MÉPRIS (1963)

Jean-Luc Godard’s subversive foray into commercial filmmaking is a star-studded Cinemascope epic. Le Mépris stars Michel Piccoli as a screenwriter torn between the demands of a proud European director (played by legendary director Fritz Lang), a crude and arrogant American producer (Jack Palance), and his disillusioned wife, Camille (Brigitte Bardot), as he attempts to doctor the script for a new film version of The Odyssey.

UNE FEMME EST UNE FEMME (1961)

Une femme est une femme, compulsively innovative director Jean-Luc Godard presents “a neorealist musical—that is, a contradiction in terms.” Featuring French superstars Anna Karina, Jean-Paul Belmondo, and Jean-Claude Brialy at their peak of popularity, Une femme est une femme is a sly, playful tribute to—and interrogation of—the American musical comedy, showcasing Godard’s signature wit and intellectual acumen. The film tells the story of exotic dancer Angéla (Karina) as she attempts to have a child with her unwilling lover Émile (Brialy). In the process, she finds herself torn between him and his best friend Alfred (Belmondo). A dizzying compendium of color, humor, and the music of renowned composer Michel Legrand, Une femme est une femme finds the young Godard at his warmest and most accessible, reveling in and scrutinizing the mechanics of his great obsession: the cinema.