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Fando y Lis
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Fando and Lis (1968) More at IMDbPro »Fando y Lis (original title)

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Release Date:
8 June 1972 (Mexico) See more »
See this film before it sees you.
Fando and his partially paralyzed lover Lis search for the mythical city of Tar. Based on Jodorowsky's memories of a play by surrealist Fernando Arrabal. | Add synopsis »
(15 articles)
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 (From ScreenDaily. 20 June 2016, 4:13 AM, PDT)

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User Reviews:
Inspiring See more (33 total) »


  (in credits order) (complete, awaiting verification)
Sergio Kleiner ... Fando (as Sergio Klainer)
Diana Mariscal ... Lis
María Teresa Rivas ... Fando's Mother
Tamara Garina ... Pope
Juan José Arreola ... Well-Dressed Man with Book (as Juan Jose Arreola)
Rene Rebetez
Amparo Villegas
Miguel Álvarez Acosta (as Lic. Miguel Alvarez Acosta)
Raul Romero
Julio Castillo
Adrián Ramos (as Adrian Ramos)
Henry West
Luis Urias
Valerie Jodorowsky ... Junkyard Temptress / Woman with Leg Brace (as Valerie-Jean)
Graciela R. de Mariscal ... Entertained Woman
Tina French
Fuensanta Zertuche ... Showgirl (as Fuensanta)
Julia Marichal ... Woman with Whip
Freddy Marichal
Alejandro Romero
Hector Mariscal
Rosita Oliver
Elizabeth Moore ... Young Lis
Vicente Moore ... Young Fando
Greta Cohen
Miguel Kafka
Pablo Leder
Alina Sánchez (as Alina Sanchez)
Roberto Cirou
Antonio Cepeda
Ricardo Montejano
Gabriel Weiss
René Alís (as Rene Alis)
Sergio Rendon
Carlos Acosta
Carlos Ancira ... Narrator
Alfonso Toledano ... Doctor (as Dr. Alfonso Toledano)
Roberto Colmenares
Jacqueline Ducolomb
Carlos Savage
rest of cast listed alphabetically:
Rafael Corkidi ... Fando's Father / Well-Dressed Man with Beard (uncredited)

Alejandro Jodorowsky ... Puppeteer (uncredited)
Samuel Rosemberg ... Well-Dressed Man with Cane (uncredited)

Directed by
Alejandro Jodorowsky  (as Alexandro Jodorowsky)
Writing credits
Fernando Arrabal (play)

Fernando Arrabal (dialogue) &
Alejandro Jodorowsky (dialogue) (as Alexandro Jodorowsky)

Fernando Arrabal (screenplay) &
Alejandro Jodorowsky (screenplay) (as Alexandro Jodorowsky)

Produced by
Juan López Moctezuma .... producer (as Juan Lopez Moctezuma)
Moshe Rosemberg .... executive producer (as Mauricio Rosemberg)
Samuel Rosemberg .... executive producer
Roberto Viskin .... producer
Original Music by
Hector Morely 
Pepe Ávila  (as Pepe Avila)
Cinematography by
Rafael Corkidi  (as Corkidi)
Antonio Reynoso  (as Reynoso)
Film Editing by
Fernando Suarez 
Editorial Department
Jonathan Liebert .... digital cinema mastering
Music Department
Mario Lozua .... musician: percussion
Other crew
Manuel Rosano .... dubbing director
Samuel Rosemberg .... in memory of

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Fando y Lis" - Mexico (original title)
See more »
93 min
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

When the film premiered at the 1968 Acapulco Film Festival, the first screening erupted into a riot. Director Alejandro Jodorowsky had to leave the theatre by sneaking outside to a waiting limousine. When the crowd outside the theatre recognized him, the car was pelted with rocks. The following week, the film opened to sell-out crowds in Mexico City, but fights broke out in the audiences and the film was banned by the Mexican government. Jodorowsky himself was nearly deported and the scandal provided a lot of fodder for the Mexican newspapers.See more »
[first lines]
Narrator:Once upon a time... a long, long time ago... there was a mystical city, Tar. And at that time all the cities were intact and flourishing, because the final war had not yet begun. When the great catastrophe occurred, all the cities crumbled... except Tar...
See more »
Movie Connections:
Featured in Jodorowsky's Dune (2013)See more »


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5 out of 6 people found the following review useful.
Inspiring, 4 November 2006
Author: Miguel Coyula from New York

Fando and Lis depart in search of the magic City of Tar, which will probably offer a cure to Lis' legs in order to make her walk again, aside from granting eternal happiness to both of them. The Search: An early thematic goal to the director's later midnight classics El Topo and The Holy Mountain. Scandalous, and too sacrilegious for the audience at the Acapulco Film Festival, the film was subsequently dropped by the distributor in 1968. Fando and Lis remained obscure for over 30 years.

Alejandro Jodorowsky's long-lost feature debut film is uneven, but it's obvious that a raw energy and a torrent of imaginative ideas went into the making. Shot on weekends with a minuscule budget, casting friends and family, Fando and Lis plays like a cross of the later Fellini circus with the brutality of an early Buñuel film.

Structured as a road movie of sorts, our protagonists have bizarre encounters with an array of unpredictable characters. Many would call it violent, but there is a certain childlike quality in the staging: A burning piano is knocked over again and again in reverse motion; Mud bathers rise (a la Night of The Living Dead) at the base of a mountain; A knife perforates a little doll's crotch, and snakes are introduced in the crack. I could go on describing the stream of images that stuck with me, but you get the point: Watch the movie.

Trying to explain its meaning is beyond the point, as Jodorowsky himself stated: "I'm more attracted to what I don't understand." The symbolism ranges from light social satire to striking, brutal imagery. Same goes for the B&W cinematography, which alternates from bland hand-held "backyard style" to breathtakingly executed shots (see the wonderfully choreographed spiral movement when Fando abandons Lis in a pit, running up the hill in circles in the background while Lis laments in the foreground).

Yet Jodorowsky seems more invested at times in the power of his ideas than in their proper screen execution. The action is sometimes clunky and/or hampered by questionable editing choices. This inconsistency doesn't seem like a deliberate effect, since many sequences are conventionally but effectively cut. However, the use of music is quite expressive as well as many sound design choices.

Fando and Lis is not a perfect film, but "perfection" is an absurd term given the nature of the material. In any case, suffice to say that this feature debut resonates far more deeply than the sober, functional exercises that Hollywood chunks out every year, not to mention the "art-house mainstream" that permeates most of the Cannes Film Festival highlights of late.

Jodorowsky's work is often closer to performance art than it is to film, if we take film as an expression of consistent atmosphere and cinematic flow, illustrating ideas at the fully extent of the medium. The auteur expresses that as a filmmaker; he doesn't care whether the audience is bored or angry, he says a film should be made with your guts, without following any rules of cinematic grammar. The result is sometimes inconsistent but never disappointing.

In a world plagued by artistic concessions, Jodorowsky emerges as an artist with an unique voice, capable of delivering unforgettable images. His work is always refreshing and inspiring.

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Why did this film cause so many riots? GMan1812
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