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Alejandro Jodorowsky is, perhaps more than any other living filmmaker that comes to mind, a visionary who stands entirely alone. His influences come from multiple sources – surrealism, the spaghetti western, theater, etc. – but he is loyal to no particular artistic movement or historical moment. He’s a brazenly original, playfully anarchistic, uncalculating provocateur and walking anachronism whose work speaks to and across various artistic traditions, belonging exclusively to none. Born to Jewish Ukranian parents in Tocopilla, Chile in 1929, Jodorowsky grew to acquire such a dedicated interest in arts and theater that he moved to France in the 1950s to study mime with Etienne Decroux before starting a career in cinema with his short La Cravate in 1957. Since then, Jodorowsky became the helmer of midnight classics like the acid western El Topo and his psychedelic John-and-Yoko-funded Brechtian epic The Holy Mountain (The IFC Center puts both these films on midnight rotation at least once a month). Jodorowsky also...