The uncontested crown gem of my recent watches. Borowczyk tempers down his naughtiness though often lets ridicule transpire irresistibly, but bearing in mind that erotic interest, the sense of beauty & reverence for the sacred are proximate states of mind which feed into one another and grow from a common root, informs this uncharacteristic eclipse with the sense it's just picking the same triad from a divergent tip.
Generously weird low-rent medieval pageant. And it's got Michel Simon. He must have wondered what the hell he had gotten himself into. The production design is predictably brilliant, and these straight-on close-ups Borowczyk does of his wife are majestic, though the extremely pristine and precise quality of Goto is supplanted by a more muddled execution here. The ending is gangbusters.
Borowcyzk's most critically acclaimed feature - a bittersweet medieval fantasy with gorgeous painterly compositions and aesthetics. Although I prefer his later, more extreme films, this is still worth a watch. I saw a ratty print of this in a dingy art theatre which no doubt added to its otherworldly appeal
Les titres les plus souvent cités quand on évoque Borowczyk sont les Contes immoraux et la Bête.La trop peu connue Blanche est pourtant magnifique ! Cela commence comme un fabliau et s'achève en histoire tragique.La force destructrice du désir (thème prisé de la littérature médiévale) ou peut-être de sa répression, après tout, est remarquablement illustrée. Merci,Mubi,de nous faire redécouvrir cette oeuvre !
Maybe a bit meandering, maybe a bit slow and dull in its first 45 minutes, but utterly fascinating in its use of space. Borowczyk is a fan of trapping his actors in ornate, sprawling spaces, never letting the audience fully understand the layout of these environments. It almost makes it appear like everyone is trapped in a doomed maze.
Watched vividly sleep-deprived rather than woozily half-asleep. This is what I assume 'Game of Thrones' is like (although it's probably closer to Buñuel directing Python's 'Holy Grail')! I find pity incompatible with objective humour, though I think the ending successfully resolves this paradox with a certain logical grace. More period dramas need to learn how to let animals inhabit a scene like Borowczyk and Herzog.