Sergio Kleiner, Diana Mariscal, Maria Teresa Rivas

Directed by Alejandro Jodorowsky (EL TOPO, SANTA SANGRE), this strange classic was "lost" for 30 years. It tells the tale of two youths (Fando and his partially paralyzed lover Lis) who search through...( read more  read more... ) a destroyed world for the mythical city of Tar, where it is believed that all of one's wishes can come true. Instead, along the way, they are corrupted and driven mad. The film caused a riot upon its premiere at the 1968 Acapulco Film Festival.

Based on Jodorowsky's memories of a play by surrealist Fernando Arrabal, one of Jodorowsky's performance-art collaborators.

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79% liked it

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67% liked it

9 critics

Unrated, 1 hr. 33 min.

Directed by: Alejandro Jodorowsky

Release Date: January 1, 1968

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DVD Release Date: August 24, 1999

Stats: 233 reviews

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Flixster Reviews (233)


  • October 1, 2009
    Surreal, grotesque and remarkable. Thank god he found it after 30 years of being lost!
  • February 5, 2009
    Filled with symbolism, it makes for a very difficult film to summarize, but is totally worth experiencing for those with open minds. Lis can't walk. Fando drags her in a wagon on their journey. Along the way, they see a burning piano, naked zombie-like humans wallowing in mud, wo...( read more)men playing poker with peaches and women chasing Fando. These are only some of the bizarre images.

    Working with no budget to speak of, and filmed on weekends, the production reeks with Bunuel influenced surrealism throwing you head first into the bottomless pit of grotesque pain that is life and makes you laugh all the way like a hyena. Enjoy..
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  • March 25, 2008
    Saw this last summer and I remember having the same opinion I generally have of Jodorowsky's films--glad I saw it but I don't really ever need to see it again.
  • March 23, 2008
    The sad fact is that nobody makes movies like this anymore. Surrealism is dead and has been replaced by so-called "reality-based TV". Seeing FANDO & LIS over thirty years later, one realizes the power Jodorowsky has to teach a new generation how it's done - for the pendulum is su...( read more)re to swing back in surrealism's favor any day now. Listen to the audio commentary and learn how to use symbolism effectively. Nobody does it better. The scene in the graveyard alone is a classic. As for shock value, this was the UN CHIEN ANDALOU (1928 by Luis Bunuel & Savador Dali) of it's day. Yes, like its predecessor, FANDO Y LIS caused riots when first screened and it's easy to see why. Audiences are still being challenged by it. This is the first "midnight movie" made before the term was even coined. There is only one way to describe it: a brilliantly shocking masterpiece.
  • December 3, 2007
    A perfect example of an Art film. That's ART with a capital A. While some of it is just imagery for the sake of imagery, it nonetheless has plenty to say and at no time was I ever bored.

    A fantasy film for intellectual adults. I can't wait to get through the rest of my Jodo...( read more)rowsky boxset. I'm most looking forward to The Holy Mountain.
  • November 2, 2009
    jodorowsky surreal fando and lis is more like a play which almost seems "improvised"
    with plenty of shock moments to go along with jodorowsky's usual surrealism .. i found i enjoyed this films the second time i watched it .. not as good as el topo or holy mountain or santa sangre...( read more) .. but does have a certain charm .. plus it started riots in the 60s when it was debuted
  • October 23, 2009
    "El árbol se refugia en la hoja, la casa en la puerta y la ciudad en la casa, y yo contemplaba ese espectáculo, y volvía a ver al árbol convertido en hoja, a la casa en puerta y a la ciudad en una casa."

    Fando y Lis (1968)


    Director: Ale...( read more)jandro Jodorowsky
    País: México
    Género: Aventura / Fantasía
    Duración: 97 minutos

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    Causing a riot in its first screening at the Acapulco's Film Festival back in 1968 because of its surrealistic and blasphemous nature, Fando y Lis is the film that allowed Chilean director Alejandro Jodorowsky to become a cult director and to basically play with cinema. Instead of making a direct and faithful adaptation of a play of the Spanish writer and filmmaker Fernando Arrabal, Jodorowsky decided to resort to his own memories and add a high dosis of bizarre imagery, surreal sequences and impossible, unexplainable events.

    The first feature length film of this visionary director focuses on Fando and his partially paralyzed lover Lis who decide to look for the mythical city of Tar, a place that supposedly grants eternal happiness and makes all wishes come true. Along the way, both of them meet with impossible events and fantastically terrifying characters, slowly descending to sexual submission, to the pleasure of violence and to madness.

    Jodorowsky's direct cinema inspirations are left very clear and, yet, he is a very original director and filmmaker on his own that cannot exactly be referenced as a mix of past giant cinematic auteurs. Despite this fact, I'll mention his possible influences throughout his reviews since it is a necessary analyzable aspect of his direction. Using a dream-like cinematography just like Federico Fellini first did in (1963) including the narrative structure and resorting to surreal social criticisms in a similar way Luis Buñuel first did in El Ángel Exterminador (1962), time has been shattered in the film, leaving all of the sequences to open interpretation, not being important whether they are real or imagined. Despite that this film represents Jodorowsky's first approach to cinema, I completely disagree with the popular opinion concerning his supposed cinematic inexperience. If it can be called as cinematic amateurism, basically everybody are, literally, crap directors. Jodorowsky didn't requiere experience since he established his personal form of surreal and fantastic filmmaking homage and succeeded.

    Working also as a deep psychological analysis of the characters, strange imagery and a considerably graphic sexual approach contrast with the characters' respective traumatized pasts. The city of Tar symbolizes the impossible reaching of joy materialized in an object that can be perceived by the senses, representing the majorly agnostic human nature that has literally invaded these modern times, stepping him away from God, resulting in damnation... the rejection of a universal truth. Insanity and the submission to sin, carnal pleasures and atheism prevail at the end, causing an earthly hell caused by our inner weakness, a noticeable hypocrisy and the fear we sense towards accepting the existence of God.

    Despite its technical flaws, its moderate budget and the overuse of cheap, yet effective sound effects, its mysticism is increased because of the wonderfully improvised and planned dialogue which came from an original one-page screenplay, an impressive camera work, its varied and haunting music throughout and its hypnotic pace that cannot be described as slow. The magic from Jodorowsky's films comes from the fact that you literally have to come up with your own interpretation in order to give to them a more significant appreciation. The subject matter he usually employs may generate chaos, debate, differences of opinion and primitive manifestations of the most common reactions of mankind towards subjectiveness, death and religion. Comically criticizing the upper class which has already fallen into its eternal abyss of ego and exaggerated self-esteem, Fando y Lis evokes the absurd, wakes up the mind, puts the brain to work and can call itself as one of the best Mexican films ever made.

    97/100
  • September 20, 2009
    Jodorowsky's stunning meditation on the chaotic nature of love and desire.
  • May 20, 2009
    con diana mariscal como lis y sergio kleiner como fando.....que bonito es un entierro... ire a visitarte con una flor y un perro.....
  • March 7, 2009
    Good, not as good as the others.

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