Now that's high-density surrealism. As much weirdness as this film has to offer, it's never particularly confusing, because most of the absurdity comes from the characters' behavior rather than from a confusing narrative. The brunt of the subtext is about religion, which makes comparisons to Buñuel unavoidable. Unlike Buñuel, Jodorowsky doesn't seem to be looking to ridicule religion. It's more like "What if the Bible took place in the Wild West? (And also you've eaten a trayful of LSD.)"

Symbolism in this film is rife, but does it mean anything? Take the relevance of religious and political imagery in Jodorowsky's fictional universe and apply it to ours..

"El Topo would be part of the revolutionary, post-'60s movement of Antonio das Mortes and The Last Movie if its private mythology didn't belong so obviously to its maker's acid subconscious." - Fernando F. Croce

Definitely holds your attention.

I think if I understood the symbolism I would appreciate this more. I'll have to revisit it someday.

A meaningful, if obtuse, exploration of redemption.

It's a little bit worse than The Holy Mountain, but still really good. As always Jodorowsky uses grotesque images, occultism, and amputees to take us on an exotic trip we've never experienced before.

When the Coronel comes out of his hut and lots of pigs come out at the same time you just know it's going to be an awesome movie.

It's like an allegorical Western parable. The story moves quickly with many great and strange characters.

Unique--an Italian spaghetti western in French surrealist style filmed in Mexico by a Chilean intellectual of Ukrainian Jewish heritage. Not just a little weird around the edges, like "Django." Not just a hippie exercise in off-the-wall symbolism like "Greaser's Palace." I mean, we're talking real surrealism here--with a touch of allegorical mysticism too. Subtle in conception (although crudely filmed), and filled with memorable images.

Utterly, abso-fucking-lutely batshit insane. If only the third act wouldn't drag on as much.

It's a miracle!

El Topo is not for the unforgiving viewer who desires complete precision, the film is often wandering, often extremely precise and often entirely aimless. Plenty of the symbolism is profound, and plenty of it is meaningless. That being said, none of it is boring to watch. El Topo bleeds style, grace, and character, and with that alone it carries itself. Some of the scenes can be stunted and off the mark, but Jodorowsky more than makes up for it with pure volume.

The extremely deep symbolism strengthens El Topo immensely, and is displayed with absolutely stunning shots. Jodorowsky never disappoints.

A lot of the ideas in this film are revisited and better depicted in The Holy Mountain.