Question:
A choir () (also known as a quire, chorale or chorus) is a musical ensemble of singers. Choral music, in turn, is the music written specifically for such an ensemble to perform. Choirs may perform music from the classical music repertoire, which spans from the Medieval era to the present, or popular music repertoire. Most choirs are led by a conductor, who leads the performances with arm and face gestures.
Composers of the late 18th century became fascinated with the new possibilities of the symphony and other instrumental music, and generally neglected choral music. Mozart's choral works, though not as numerous as his works for other media, stand out as some of his greatest (such as the "Great" Mass in C minor and Requiem in D minor, the latter of which is often considered the greatest Requiem Mass of all time). Haydn became more interested in choral music near the end of his life following his visits to England in the 1790s, when he heard various Handel oratorios performed by large forces; he wrote a series of masses beginning in 1797 and his two great oratorios The Creation and The Seasons. Beethoven wrote only two masses, both intended for liturgical use, although his Missa solemnis is probably suitable only for the grandest ceremonies due to its length, difficulty and large-scale scoring. He also pioneered the use of chorus as part of symphonic texture with his Ninth Symphony and Choral Fantasia. In the 19th century, sacred music escaped from the church and leaped onto the concert stage, with large sacred works unsuitable for church use, such as Berlioz's Te Deum and Requiem, and Brahms's Ein deutsches Requiem. Rossini's Stabat mater, Schubert's masses, and Verdi's Requiem also exploited the grandeur offered by instrumental accompaniment. Oratorios also continued to be written, clearly influenced by Handel's models. Berlioz's L'enfance du Christ and Mendelssohn's Elijah and St Paul are in the category. Schubert, Mendelssohn, and Brahms also wrote secular cantatas, the best known of which are Brahms's Schicksalslied and Nanie. A few composers developed a cappella music, especially Bruckner, whose masses and motets startlingly juxtapose Renaissance counterpoint with chromatic harmony. Mendelssohn and Brahms also wrote significant a cappella motets. The amateur chorus (beginning chiefly as a social outlet) began to receive serious consideration as a compositional venue for the part-songs of Schubert, Schumann, Mendelssohn, Brahms, and others. These 'singing clubs' were often for women or men separately, and the music was typically in four-part (hence the name "part-song") and either a cappella or with simple instrumentation. At the same time, the Cecilian movement attempted a restoration of the pure Renaissance style in Catholic churches.
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What was different about a capella?

Answer:
Bruckner, whose masses and motets startlingly juxtapose Renaissance counterpoint with chromatic harmony.

Question:
Alejandro Jodorowsky Prullansky (Spanish: [ale'xandro xodo'rofski]; born 17 February 1929) is a Chilean-French filmmaker. Active since 1948, in seventy years of his artistic career Jodorowsky has experienced it in almost all creative forms: writer (in his five facets: novelist, storyteller, poet, playwright and essayist), film director and producer, actor of cinema and theatre, playwright, theatre director, screenwriter, film editor, comics writer, musician, soundtrack composer, philosopher, puppeteer, mime, psychologist and psychoanalyst, draughtsman, painter, eventually sculptor and spiritual guru. Best known for his avant-garde films, he has been "venerated by cult cinema enthusiasts" for his work which "is filled with violently surreal images and a hybrid blend of mysticism and religious provocation". Born to Jewish-Ukrainian parents in Chile, Jodorowsky experienced an unhappy and alienated childhood, and so immersed himself in reading and writing poetry.
In 1982 Jodorowsky divorced his wife. In 1989, Jodorowsky completed the Mexican-Italian production Santa Sangre (Holy Blood). The film received limited theatrical distribution, putting Jodorowsky back on the cultural map despite its mixed critical reviews. Santa Sangre was a surrealistic slasher film with a plot like a mix of Alfred Hitchcock's Psycho with Robert Wiene's "The Hands of Orlac". It featured a protagonist who, as a child, saw his mother lose both her arms, and as an adult let his own arms act as hers, and so was forced to commit murders at her whim. Several of Jodorowsky's sons were recruited as actors. He followed in 1990 with a very different film, The Rainbow Thief. Though it gave Jodorowsky a chance to work with the "movie stars" Peter O'Toole and Omar Sharif, the executive producer, Alexander Salkind, effectively curtailed most of Jodorowsky's artistic inclinations, threatening to fire him on the spot if anything in the script was changed (Salkind's wife, Berta Dominguez D., wrote the screenplay). That same year (1990), Jodorowsky and his family returned to live in France. In 1995, Alejandro's son, Teo, died in an accident while his father was busy preparing for a trip to Mexico City to promote his new book. Upon arriving in Mexico City, he gave a lecture at the Julio Castillo Theatre where once again he met Ejo Takata, who at this time had moved into a poor suburb of the city where he had continued to teach meditation and Zen. Takata would die two years later, and Jodorowsky would never get to see his old friend again.
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What is the movie about

Answer:
as an adult let his own arms act as hers, and so was forced to commit murders at her whim.