WALERIAN BOROWCZYK
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Polish filmmaker Walerian Borowczyk (1923-2006) was a label-defying auteur, and an innovator across the standard categories of the film universe. He is not least interesting for his shorts, which undoubtedly has meant a lot for other filmmakers like Jan Švankmajer, Terry Gilliam, David Lynch and Bertrand Mandico. Thanks to Arrow Films and Daniel Bird, who will present these two programmes, a large part of his oevre is restored and finally available again after decades on dusty shelves in the archives.
Borowczyk studied painting and graphic arts and was trained a lithographer. He contributed to advance Polish film posters from run of the mill consumables to becoming art. In the political thaw at the end of the 1950s he cooperated with Jan Lenica to make films that led to the advancement of animation worldwide.
In 1959 Borowczyk emigrated to France, where he was to create his most famous works. He would make a name for himself as a director of both shorts and feature films, and often took responsibility for screenplay, editing and graphic design on his own films. As with his compatriot Polanski, voyeurism is a dominant motif for Borowczyk – just like it is closely related to the actual situation of watching movies. While surrealism never had any obvious representatives in Poland, the absurd was well rooted through Slawomir Mrozek, Poland's most celebrated absurdist playwright. Thematically, Mrozek's influence is visible in the subversion of authority, satire on the power struggle in the home as well as in the society, and in a consistent interest in social dysfunctionality.
But on his move to feature films, just as the 60s became the 70s, something changed. Borowczyk became a controversial director, as his idiosyncratic style and interest in turbulent sexuality eventually came to be rather explicitly expressed in many of his films. Borowczyk was no stranger to shocking the audience, and was by some considered to be a reckless pornographer. Others saw him as a genius, a great artist who expressed the human libido in a refreshing way.
This unique and brilliant filmmaker, whom we this year want to pay tribute to with a retrospective, stands out as a representative of many of the qualities that Minimalen wishes to fight for: a personal, visionary, pioneering and media specific film expression, where animation and live-action are equally important forms. We hope you will let yourself be enchanted, shocked and pleased by the extraordinary film world of Walerian Borowczyk.
Sources: Arrow Films | Daniel Bird | Adam Mickiewicz Institute – Jan Strekowski (www.culture.pl)
Kamila Kuc (editor) 2014: The Struggle for Form: Perspectives on Polish Avant-Garde Film 1916-1989.
Rights Clearance (except where noted): Tamasa Distribution, contact@tamasadistribution.com.
Director: Walerian Borowczyk |
RENAISSANCE En haug med skrot finner gradvis tilbake til sin originale form og framstår som ikoniske gjenstander i et pent organisert tablå; så smeller bomben. Elegant animert med baklengs stop-motion-teknikk foregriper dette monumentale signaturverket på mange måter det som senere skulle komme gjennom Jan Švankmajer og Quay-brødrene. A load of junk gradually returns to its original shape and appears as iconic objects in a neatly organized tableau; then the bomb explodes. Elegantly animated with backwards stop-motion technique, this monumental signature work in many ways anticipates what would later come through Jan Švankmajer and the Brothers Quay. Script: Walerian Borowczyk | Camera: Guy Durban | Editing: Claude Blondel | Music: Avenir de Monfred | Sound: Claude Blondel Production: Les Cinéastes Associés – Jacques Forgeot |
Director: Walerian Borowczyk, Jan Lenica |
ONCE UPON A TIME (BYL SOBIE RAZ) Ved at de to opphavsmennene tar med seg minimalismen, intelligensen og glimtet i øyet fra polsk plakatkunst over i denne cut-out-animasjonen, blir filmen stående som selve bindeleddet mellom de to kunstformene. Verkets verdi som stildanner øker ytterligere av det radikalt nyskapende elektro-akustiske lydsporet. By employing much of the minimalism, intelligence and twinkle in the eye known from Polish poster art in this cut-out animation, the creators manage to establish a unique link between the two forms of art. The level of esteem as a pioneering work is further increased by the radically innovative electro-acoustic soundtrack. Script: Walerian Borowczyk, Jan Lenica | Camera: Edward Bryla | Music: Andrzej Markowski Production, Rights clearance: Wytwórnia Filmów Dokumentalnych, Zespól Filmowy KADR |
Director: Walerian Borowczyk |
GRANDMOTHER'S ENCYCLOPAEDIA Her skaper Borowczyk en ny og leken kunstform ved å animere Art Nouveau-etsinger, og foregriper i samme slengen både Terry Gilliams animasjoner i Monty Python og Peter Greenaways bruk av alfabetet som motor i filmfortellingen. Here Borowczyk is creating a new and playful form of art by animating Art Nouveau etchings, thus anticipating both Terry Gilliam's animations in Monty Python and Peter Greenaway's use of the alphabet as an engine for storytelling. Script, animation: Walerian Borowczyk | Camera: Francis Pronier | Editing: Claude Blondel | Music: Avenir de Monfred Production: Les Cinéastes Associés – Jacques Forgeot |
Director: Walerian Borowczyk, Jan Lenica |
HOUSE (DOM) Vi dras inn i et hus hvor en ung kvinne eksponeres for en serie absurde scener, skildret med et bredt arsenal av animasjonsteknikker som gjør filmen til et essensielt historisk knutepunkt på veien fra 20-tallets franske avant-garde, som Hans Richter og Jean Cocteau, og framover mot samtidens østeuropeiske surrealister som Jan Švankmajer og Priit Pärn. Og som prikk over i-en: det elektro-akustiske lydsporet til Kotonski. We are drawn into a house where a young woman is exposed to a series of absurd scenes, depicted with a wide array of animation techniques that make the movie an essential historical hub on the road from the 20s French avant-garde, like Hans Richter and Jean Cocteau, onwards to contemporary eastern European surrealists like Jan Švankmajer and Priit Pärn. And to dot the i: the electro-acoustic soundtrack of Kotonski. Script: Walerian Borowczyk, Jan Lenica |
Camera: Antoni Nurzynski | Production, Rights clearance: Romuald Hajnberg – Wytwórnia Filmów Dokumentalnych, Zespól Filmowy |
Director: Walerian Borowczyk |
THE CONCERT (LE CONCERT) En absurd slapstick-komedie tegnet i grov strek om ekteparet Kabal, hvis forhold bølger mellom kjærlighet og krigføring. En pilot for langfilmen «Theatre of Mr & Mrs Kabal». An absurd slapstick comedy drawn in a rough line about the
Kabals, a married couple whose relationship shifts between
love and warfare. A pilot for the feature film 'Theatre of Mr & Script: Walerian Borowczyk Production: Les Cinéastes Associés – Jacques Forgeot |
Director: Walerian Borowczyk, Chris Marker |
THE ASTRONAUTS (LES ASTRONAUTES) I Georges Méliès' ånd bygger vår aspirerende astronaut et romskip av papp og legger friskt i vei med bare en kattugle som selskap. Den polske animasjonsteknikken er videreutviklet til et svimlende nivå – her er fotografier redigert og kopiert inn i hverandre og sammenflettet med tegninger og gamle kobberstikk. In the spirit of Georges Méliès, our aspiring astronaut builds a spaceship out of cardboard and sets off with only a tawny owl as company. The Polish animation technique is further developed to dizzying heights – here photographs are edited and copied into each other and interlaced with drawings and old engravings. Script: Walerian Borowczyk, Chris Marker |
Camera: Daniel Harispe | Editing: Jasmine Chasney |
Animation: Walerian Borowczyk |
Music: Andrzej Markowski Production: Anatole Dauman - Argos Films/Les Films Armorial |
Director: Walerian Borowczyk, Jan Lenica |
REQUITED FEELINGS (NAGRODZONE UCZUCIE) Historien om en sjenert ung manns gjengjeldte kjærlighet, lekent fortalt med de naive, folkloristiske maleriene til Jan Plaskocinski, bare supplert med stumfilmaktige mellomtekster. The story of the requited love of a shy young man, playfully told by use of the naïve folkloristic paintings of Jan Plaskocinski, only supplemented by intertexts alá the silent film. Script: Walerian Borowczyk, Jan Lenica |
Camera: Edward Bryla | Editing: Krystyna Rutkowska |
Music: Orkiestra Deta Gazowni Miejskiej w Warszawie Production, Rights Clearance: WFDiF, Wytwórnia Filmów Dokumentalnych i Fabularnych |
Director: Walerian Borowczyk |
ANGELS' GAMES (LES JEUX DES ANGES) Borowczyks mesterverk, hvor hans talenter som maler,
animatør og filmkunstner går opp i en større enhet. Basert
på en serie abstrakte vannfarge-malerier, som sammen
med det ekstraordinære lydsporet makter å fremkalle
konsentrasjonsleirenes angst samtidig som det er uendelig Borowczyk's masterpiece, where his talents as a painter, animator and artist of the cinema adds up to a larger unified whole. Based on a series of abstract water color paintings, which, supported by the extraordinary soundtrack, manages to evoke the concentration camp anxiety while still being infinitely beautiful. Script, animation: Walerian Borowczyk |
Camera: Francis Pronier, Gerard Cox Production: Les Cinéastes Associés – Jacques Forgeot |
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Director: Walerian Borowczyk |
DIPTYCH (DIPTYQUE) To paneler som både teknisk og innholdsmessig framstår som de totale motsetninger til hverandre, men som sett i sammenheng skaper et spenn hvor stor kunst får rom til å oppstå. Two panels, seemingly the complete opposites of each other both technically and contentwise, that however, seen in context, creates a span from where great art is given space to arise. Script: Walerian Borowczyk | Camera: Guy Durban | Editing: Marie-Louise Barberot | Music: Jean-Philippe Rameau Production: Pantaléon Films – Dominique Duvergé |
Director: Walerian Borowczyk |
THE PHONOGRAPH (LE PHONOGRAPHE) Borowczyks siste objekt-animasjon – om en gammel fonograf
som monterer seg selv, spiller noen voksruller og selvdestruerer – kan oppfattes som en litt stillferdig slektning Borowczyk's final object animation – about an old phonograph that assembles itself and plays some wax drums before self destructing – can be perceived as a subdued companion piece to Renaissance. Script: Walerian Borowczyk | Camera: Guy Durban | Editing: Claude Blondel Production: Pantaléon Films – Dominique Duvergé |
Director: Walerian Borowczyk |
GAVOTTE Til tonene av barokkmusikk slåss to dverger i sin kjedsomhet om en pute. Borowczyk tar et steg i retning av spillefilmen, men behandler skuespillere på animatørens vis: kamera i fast posisjon rett forfra, med et diffust, skyggeløst lys. To the tune of baroque music, two bored dwarves fight over a pillow. Borowczyk takes a step in the direction of the live action film, but treats actors as the animator he is: camera in a fixed position straight on, with soft, shadow-less lighting. Script: Walerian Borowczyk | Camera: Guy Durban | Editing: Marie-Louise Barberot | Music: Jean-Philippe Rameau | Cast: Roberto, Ludo Production: Pantaléon Films – Dominique Duvergé |
Director: Walerian Borowczyk |
ROSALIE Det rystende vitnemålet til en tjenestepike som drepte og begravde sitt nyfødte barn i hagen, basert på en novelle av Guy de Maupassant. Med minimalistiske virkemidler, som ettsekunds innklipp av bevisgjenstander, klarer Borowczyk på mesterlig vis å gjøre framstillingen mer blodfrysende ubehagelig enn de fleste av dagens såkalte skrekkfilmer. The harrowing testimony of a maid who murdered and buried
her newborn child in the garden, based on a short story by
Guy de Maupassant. With minimalist measures, such as one second Script: Walerian Borowczyk, based on Guy de Maupassant | Camera: Yann le Masson, Antoine Georgakis | Editing: Catherine Kelber | Sound: Jacques Boujon | Cast: Ligia Branice Production: Dominique Duvergé |
Director: Walerian Borowczyk |
A PRIVATE COLLECTION (UNE COLLECTION PARTICULIÈRE) En vandring gjennom surrealistforfatteren Andre Pieyre de Mandiargues' samling av antikvert snusk og erotiske leker som gir grunnlag for å spørre seg hvorvidt den vestlige verden virkelig er blitt så mye mer seksualfiksert enn den var i 'gode gamle dager'. A tour through surrealist author Andre Pieyre de Mandiargues'
collection of antiquated smut and erotic toys, which gives
reason to ask oneself whether the Western world really has become
so much more sexually fixated than it was in the 'good Script: Walerian Borowczyk | Cast: André Pieyre de Mandiargues Production: Anatole Dauman, Peter Schamoni |
Director: Walerian Borowczyk |
HOLY SMOKE En reklamefilm laget for Wills Cigars om S.C.C.S.S.P.s framvekst An advert made for Wills Cigars about the rise and fall of The Society for the Conservation of Cigar Smoking for the Specially Privileged. A hilarious precursor to Monty Python, both in type of humour and style of animation. Script, animation: Walerian Borowczyk Production: Les Cinéastes Associés |
Director: Walerian Borowczyk |
JOACHIM'S DICTIONARY (LE DICTIONNAIRE DE JOACHIM) Joachim definerer et ord for hver bokstav i alfabetet med visuelle illustrasjoner som tyder på at han mangler noe på å mestre verdens absurditeter. Samme grunnidé som i Grandmother's Encyclopaedia, men ytterligere anarkistisk. Joachim defines a word for each letter of the alphabet through visual illustrations that suggest that he lacks something to master the world's absurdities. Same basic idea as in Grandmother's Encyclopaedia, but with even more anarchy. Script: Walerian Borowczyk | Camera: Constantin Tchikine | Editing: Catherine Kelber | Music: Bernard Parmegiani Production: Dominique Duvergé |
Director: Walerian Borowczyk |
VENUS ON THE HALF-SHELL (ESCARGOT DE VENUS) En feiring av de erotiske stifttegningene til Bona Tibertelli de Pisis, som er befolket av hybridvesener med trekk fra både mennesker og bløtdyr. A celebration of the erotic crayon drawings of Bona Tibertelli de Pisis, which are populated by hybrid creatures with features of both humans and molluscs. Script: Walerian Borowczyk | Camera: Noël Véry, Roger Grange | Cast: Bona Tibertelli de Pisis Production: Anatole Dauman |
Director: Walerian Borowczyk |
SCHERZO INFERNAL Det tilfeldige møtet mellom en opprørsk djevel og en attraktiv englefrøken i det brennende – enskjønt sensuelle – helvetets inferno. Borowczyks siste animasjonsfilm, og den eneste gangen han kombinerer interessen for erotikk med sine animatørferdigheter. The chance encounter between a rebel devil and a nubile angel in the fiery – albeit sensual – inferno of Hell. Borowczyk's final animation, and the only time he combines his interest in erotica with his skill as an animator. Script, animation: Walerian Borowczyk | Music: Bernard Parmegiani | Cast: Yves Robert (voice) Production: Anatole Dauman |
Director: Walerian Borowczyk |
THE GREATEST LOVE OF ALL TIME (L'AMOUR MONSTRE DE TOUS LES TEMPS) Et portrett av den Paris-baserte serbiske surrealist-maleren Ljuba Popovic i arbeid, hektisk klipt som en slags bevissthetsstrøm. En påminnelse om den unge Borowczyks ivrige dokumentering av kunstnere. A portrait of the Paris-based Serbian surrealist painter Ljuba Popovic at work, hectically edited as a kind of stream of consciousness. A reminder of the young Borowczyk's eagerness to document artists. Script, camera, editing: Walerian Borowczyk | Cast: Ljuba Popovic Production: Anatole Dauman |
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