Watch W.R.: Mysteries of the Organism

W.R. Mysteries of the Organism is a 1971 Yugoslavian experimental feature film directed by Dusan Makavejev. The movie is an avant-garde blend of documentary and fiction, featuring interviews with Wilhelm Reich, a controversial Austrian psychoanalyst, along with an amalgamation of stories from various fictional and non-fictional sources. The film is structured around themes of sexuality, politics, and revolution, exploring the intersections of these topics through a variety of bizarre and surreal scenarios.

The film is primarily divided into two parts: the first part features interviews with Wilhelm Reich, who believed that sexual repression was the root of all social and political oppression. The interviews are interspersed with fictional vignettes featuring a group of Yugoslav artists and intellectuals who are exploring their own sexual and political identities. These vignettes include a woman masturbating with a crucifix, a man using a kitchen kettle to stimulate his genitals, and a group of women throwing tomatoes at an image of Stalin.

The second half of the film is dedicated to the story of Milena, a Yugoslav woman who becomes fascinated with the work of Wilhelm Reich and begins exploring her own sexual identity. Milena's story is intercut with footage of a Soviet athlete (Jagoda Kaloper) who represents the rigid confines of Communist ideology, refusing to acknowledge that sex exists outside of procreation. Milena's journey of sexual discovery is juxtaposed with scenes of the athlete competing in various athletic events, ultimately culminating in a bizarre finale where Milena and the athlete meet in the streets of Belgrade for a showdown of sexual and political ideologies.

Overall, W.R. Mysteries of the Organism is a thought-provoking and experimental film that pushes the boundaries of traditional filmmaking. It blends elements of documentary and fiction in a way that feels both anarchic and purposeful, using surreal imagery and provocative themes to explore the intersections of sexuality and politics. The film remains a landmark of Yugoslavian and European cinema, and a testament to the power of avant-garde filmmaking to challenge and provoke audiences.