W.R.: Mysteries of the Organism

W.R.: Mysteries of the Organism is an avant-garde film from 1971 that combines elements of documentary, satire, and surrealism to explore the complexities of human sexuality, politics, and consciousness. Directed by Yugoslav filmmaker Dušan Makavejev, the movie is both playful and provocative, reflecting the cultural and political tensions of its time. The title "W.R." refers to Wilhelm Reich, the Austrian psychoanalyst and author whose theories about sexual liberation and the orgasm's role in mental health frame the thematic backbone of the film.

The film stars Milena Dravic, Ivica Vidovic, and Jagoda Kaloper, and is notable for its daring narrative structure, which eschews conventional storytelling in favor of a more fragmented and associative approach. Makavejev weaves together a patchwork blend of fiction and documentary, offering a mosaic of stories and reflections that offer insight into Reichian theories and how they intersect with individual and societal behaviors.

At its core, "W.R.: Mysteries of the Organism" follows the experiences of Milena, vividly portrayed by Milena Dravic, who embraces Reich's ideas and is passionately committed to exploring and promoting sexual freedom. Milena's journey takes her on a series of encounters and episodes that serve as meditations on the possibility and implications of a society that fully accepts Reich's postulates about the orgasm.

Makavejev intercuts Milena's narrative with archival footage and interviews that delve into the life and work of Wilhelm Reich. Reich was a controversial figure of the 20th century, whose ideas about the orgasm's role in personal health and society were revolutionary at the time but often led to his ostracism. The documentary elements of the film often focus on Reich's clashes with both the psychoanalytic establishment and government authorities, notably his trouble with the U.S. Food and Drug Administration (FDA), which ultimately led to his imprisonment.

Throughout the movie, Makavejev challenges viewers to contemplate the intersections of psychoanalysis, politics, and power, asking profound questions about the nature of repression, both sexual and political. The film posits that society's restrictive norms regarding sexuality have far-reaching consequences, affecting not just the individual psyche but also the community and the political climate at large.

The structure of "W.R.: Mysteries of the Organism" is intentionally disjointed, creating a collage-like experience that feels like flipping through a scrapbook of vignettes and scenes. Some moments are satirical and humorous, while others are more poetic and abstract. Jagoda Kaloper and Ivica Vidovic, along with the rest of the cast, participate in these varied scenes, contributing to the film's reflection on wider social attitudes toward sexuality, freedom, and control.

The movie also goes beyond the realm of commentary on sexual politics to explore other forms of societal and political organization. For instance, it contrasts the free-love movements of the West with the repressive state apparatus in communist countries, slyly poking at the seeming contradictions between ideological freedom and the realities of political power.

Furthermore, "W.R.: Mysteries of the Organism" showcases Makavejev's distinct flair for filmmaking through dynamic camera work and editing techniques that create a rhythm and flow unlike that of traditional narrative cinema. It employs a variety of mediums including animation and still photography, which contributes to the film's patchwork aesthetic and reinforces the collage of ideas it presents.

Though the film is a product of its time—reflecting the late 1960s and early 1970s zeitgeist—it remains timeless in the questions it poses about human nature and the potential for personal and collective liberation. However, it's important to note that "W.R.: Mysteries of the Organism" is a film steeped in its own era, full of allusions to then-contemporary figures, events, and controversies. It captures the revolutionary spirit of the time and distills it through a unique, eccentric lens.

One of the most powerful components of "W.R.: Mysteries of the Organism" is how it challenges the viewer intellectually and emotionally. The narrative jumps and thematic complexity demand active viewership, asking the audience to draw connections and provide interpretations for the metaphors and allegories the movie presents. The film's content and approach were seen as highly controversial at the time of its release and even led to Makavejev's temporary ostracism from Yugoslavia.

"W.R.: Mysteries of the Organism" serves as a reminder of the era's revolutionary ideas and articulates a daring call to question societal norms. It's a striking piece of cinema that eschews easy categorization, sitting comfortably at the intersection of art film, political statement, and social commentary. As such, it is heralded as a landmark of counter-culture filmmaking and remains a thought-provoking, if idiosyncratic, gem for cinephiles and social theorists alike.