All posts by Graham Williamson

Man with a Movie Camera

Newly enthroned by Sight & Sound as the greatest documentary ever made, Man With a Movie Camera is an easy film to enjoy.  Partly this is because of its ripping pace – 67 minutes long, utterly relentless and married here with a Michael Nyman score

The Beast

Before we turn our attention to the last disc of Arrow’s Blu-Ray Borowczyk restorations, let us take stock of the man’s career up to this point. A shoestring genius of experimental animation, “Boro” had proved his versatility with four massively different features; the crackpot animated

Immoral Tales

Since one of the stated aims of Arrow’s Walerian Borowczyk collection has been to rescue his reputation from an association with pornography, it seems strange to say that including two of the late-period erotic films is a masterstroke.  And yet it is.  Viewed in context,

War and Peace

When Mark Cousins started his monthly column in Sight & Sound magazine in 2012, a large chunk of his inaugural piece was spent discussing the work of Anand Patwardhan. Patwardhan is one of those documentarians who the international film festival cognosceti know and love, yet

Blanche

The third film in Arrow’s acclaimed series of Walerian Borowczyk restorations, Blanche is an entry into the late 1960s and early 1970s cycle of Medieval films that produced notable work by Jacques Demy and Pier Paolo Pasolini, before Borowczyk’s disciple Terry Gilliam helped to lovingly

Goto, Isle of Love

The second feature in Arrow’s extensive restoration of Walerian Borowczyk’s work, Goto, Isle of Love is a live-action French film that cannot be anything other than the work of a Polish animator. Its venomous contempt for authority and its poker-faced sense of humour are both

Story of my Death

There’s an inherent risk to saying this on the internet these days, but here we go: sometimes spoilers aren’t a bad thing. Every single synopsis or review I’ve read of Albert Serra’s seventh feature film, Story of My Death, mentions a character who doesn’t turn

Walerian Borowczyk Short Films and Animation

The story of Michael Brooke’s [EDIT – actually Daniel Bird; see comments section] restoration of the films of Walerian Borowczyk deserves to be film-restorer’s folklore by now, a Cinderella story about one of cinema’s least Disney-esque animators. After facing plenty of indifference, Brooke turned to

Polish Cinema Vol. III

One of the key dilemmas faced by anyone looking to distribute or exhibit foreign-language cinema is this: do you distribute films that offers insights into a different culture, or do you distribute films that are universal? The former, of course, is something that many arthouse