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Revered in the 1970s he later became better known as a maker of erotic movies.

Warsaw-based sales outlet New Europe Film Sales has boarded world sales for the documentary Love Express: The Disappearance Of Walerian Borowczyk, which explores the career of controversial filmmaker Walerian Borowczyk, the cult Polish director whose credits include Blanche and Immoral Tales.

The company is launching the film, which was co-produced by HBO Europe, at the Cannes market.

Revered in the 1970s, Borowczyk was hailed as a director of unparalleled sensitivity, before later becoming better known as a maker of erotic movies including Emmanuelle 5. The...

Revered in the 1970s he later became better known as a maker of erotic movies.

Warsaw-based sales outlet New Europe Film Sales has boarded world sales for the documentary Love Express: The Disappearance Of Walerian Borowczyk, which explores the career of controversial filmmaker Walerian Borowczyk, the cult Polish director whose credits include Blanche and Immoral Tales.

The company is launching the film, which was co-produced by HBO Europe, at the Cannes market.

Revered in the 1970s, Borowczyk was hailed as a director of unparalleled sensitivity, before later becoming better known as a maker of erotic movies including Emmanuelle 5. The...

Close-Up is a column that spotlights films now playing on Mubi. The retrospective The Many Sins of Walerian Borowczyk is showing February 12 - June 18, 2017 in the United States and in many other countries around the world.As the reverberation of horses fervently neighing and clomping their hooves begins to permeate the opening credit soundtrack of The Beast, one may recall the similarly orchestrated donkey brays that introduce Robert Bresson’s Au hasard Balthazar (1966). Or, given its title, and the very basic concept of a young woman becoming enamored with an savage creature, one may be tempted to compare this 1975 feature to the many variations of Gabrielle-Suzanne Barbot de Villeneuve’s classic fairy tale, La belle et la bête. One would be more than a little confounded, however, by making either inadequate association. If Walerian Borowczyk’s semi-porn-semi-art-semi-monster movie bears any resemblance to another film or story, it would be...

Daniel Bird: “What is your opinion of Walerian Borowczyk’s work?”Andrzej Żuławski: “Borowczyk? Oh, he lost himself, I think, it’s a pity because he was quite a talent.” One radical filmmaker laments another radical. With one sentence, Żuławski encapsulates the conventional arc of Borowczyk, or as he calls himself in Mr. and Mrs. Kabal's Theatre (1967), Boro’s career. He was a great animator working with Jan Lenica in Poland and, when moving to France, Chris Marker[1]. His shorts influenced Jan Švankmajer, Terry Gilliam, and the Quay Brothers, and were praised by critics like Amos Vogel and Raymond Durgnat. With his first two live-action feature-films, Goto, Island of Love (1968) and Blanche (1971), critics hailed Boro as part of the major league—an auteur. He’s the next Bresson! He’s the next Buñuel! Then he made Immoral Tales (1974), a blemish in his body of work at this point in his career.