The Voice Thief is a debut short film recalling the myth of Orpheus and Eurydice, with all the high-octane drama of a Spanish telenova and the opulence of Pierre et Gilles. Written, produced, and directed by actor/musician Adan Jodorowsky, the film opens in Lynchian style when bejewelled opera singer Naya (Asia Argento) performs for a black-tie audience that in- cludes her tearful husband Noev (Cristóbal Jodorowsky).
Bare-breasted critics in bobbed blonde wigs make note as her husband, transported, has a vision of his wife giving birth to a serpent. The audience exits with silent, choreo- graphed precision. Noev claps wildly.
The following evening, slurping soft-boiled eggs in aggres- sive power suits and fur, the unhappy couple descend into a violent fight provoked by cutting reviews. When Noev throttles his wife, she loses the ability to sing. Begging Na- ya’s forgiveness, she demands he recover it, or she shall kill herself. Thus begins a husband’s psychomagical odyssey through baroque underworlds, on a quest to retrieve his wife’s voice. Revelling in a camp-provocateur Paris filled with drunken transvestites, saints and vagrants, Noev fol- lows the sound of Opera in order to steal it.
His murderous, homoerotic journey through the circles of Hell leads to Naya’s transformation into a series of freaks and eccentrics. Noev encounters, among others, a Bot- ticelli Venus in gold lamé, singing to a group of mastur- bating marauders. She pisses from the female equivalent of a golden codpiece (cuntpiece?) and they drink. These strange vignettes are typical of a sexually deviant, beau- tifully shot film, richly saturated in colour. Full of Catholic and supernatural references, The Voice Thief is an explora- tion of excess, the macabre and the divine, that eventually culminates in religious martyrdom.
In 2015, The Voice Thief was selected to open the Copen- hagen Fashion Film Festival and will continue to play at film festivals throughout this year.
Originally published in Eclectic Magazine.