Walerian Borowczyk

Walerian Borowczyk (21 October 1923 – 3 February 2006) was an internationally known Polish film director described by film critics as a 'genius who also happened to be a pornographer'. He directed 40 films between 1946 and 1988. Borowczyk settled in Paris in 1959. As a film director, he worked mainly in France. Biography Born in Kwilcz near Poznań, Borowczyk studied painting at the Academy of Fine Arts in Kraków, then devoted himself to painting and lithography, including the creation of posters for the cinema, which earned him a national prize in 1953. His early films were surreal animations, some only a few seconds long, including several comic abecedaria. His most acclaimed early films were Był sobie raz (Time Upon a Once) (1957) and Dom (House) (1958, with Jan Lenica). In 1959, Borowczyk immigrated to France and settled in Paris. He worked with Chris Marker for Les Astronautes. Major works of this period include the stop motion film Renaissance (1964), which uses reverse motion to depict various destroyed objects (a prayer book, a stuffed toy, etc.) re-assembling themselves, only to be destroyed again when the last object (a bomb) is complete. In 1967, he directed his first animated feature film, Théâtre de Monsieur & Madame Kabal: un film dessiné pour les adultes (Mr. and Mrs. Kabal's Theatre). Borowczyk moved into live-action feature film with Goto, l'île d'amour (Goto, Isle of Love) (1968) and Blanche (1971), both tales of illicit love thwarted by jealous husbands, and both starring his own wife, Ligia Branice. One of his most appreciated films of this period, Dzieje grzechu (A Story of Sin) (1975), which was nominated for Palme d'or, is an adaptation of a Polish literary classic by Stefan Żeromski. Like his 1966 short film Rosalie (a Guy de Maupassant adaptation and a Silver Bear winner), Dzieje grzechu had successfully rendered the themes of seduction and infanticide. Contes immoraux (Immoral Tales) (1973) and his later work, including Interno di un convento (Behind Convent Walls) (1977) (inspired by Promenades dans Rome of Stendhal) and Cérémonie d'amour (Rites of Love) (1988) have been controversial, lauded by some for their unique surrealist vision and derided by others as contentless pornography.