Watch it forвЂ¦ the blend of black-and-white cinematography and half a dozen ultra-brief yet inexpressibly haunting glimpses of colour. ItвЂ™s mostly shot in black and white, with half a dozen ultra-brief yet inexplicably haunting transitions into colour.Д«orowczyk was proud of the fact that the film was banned in both Communist Poland and Fascist Spain, because it meant that his portrait of the vices of totalitarianism had universal application вЂ“В although Pierre BrasseurвЂ™s sad-eyed dictator Goto III is as much a prisoner as his various subjects, including his beautiful wife Glossia (Ligia Branice, BorowczykвЂ™s wife). It didnвЂ™t show me anything specific, just sound and movement from which you create a world of your own.вЂќ (Terry Gilliam, choosing it as one of his top 10 animated films for a Guardian feature) Goto, Island of Love (1968)Д«orowczykвЂ™s stark medieval fable Blanche (1971) is usually singled out from this period in his career, but his first live-action feature Goto is richer and rarer, creating a wholly unique world out of a situation whereby the eponymous island has been shut off from the rest of civilisation since 1887 and has evolved its own distinctively Borowczykian environment and culture: dilapidated rooms, exotic costumes, antique artefacts. вЂњMy first experience of animation that was utterly impressionistic. Listen toвЂ¦ the equally extraordinary electro-acoustic score by Bernard Parmegiani (1927-2013), who furnished Borowczyk with some of his most memorable soundtracks. Watch it forвЂ¦ The way Borowczyk conjures up an entire universe from the simplest means. With this film, Borowczyk definitively proved that animation could be regarded as one of the fine arts, to rank alongside the canvases of Goya and Francis Bacon. After a seemingly endless train journey through a night studded with shells flying overhead, are the pipe-riddled rooms that we eventually reach part of a prison, a factory, or a grim fusion of both? And does the constant parade of beheadings and mutilations serve a specific purpose, or is it merely part of some twisted caprice? His personal experience of life under both Nazi and Soviet occupation has led people to divine allegorical portraits of both the Holocaust and the dehumanising industrial processes of the Stalin era, but its stripped-down, uniquely suggestive approach makes it impossible to pin it down to any specific era.

If heвЂ™d made nothing else, this macabre, 12-minute masterpiece would grant Borowczyk cinematic immortality on its own. вЂњWith its mixture of poetry and burlesque, this is a masterpiece of surrealist incongruity.вЂќ (Monthly Film Bulletin) Les Jeux des anges (1964) Listen toвЂ¦ the still surprisingly вЂmodernвЂ™ score by Andrzej Markowski (1924-86), overlaying unexpected chirps and tweets on top of recordings of classical music. Watch it forвЂ¦ one of the best examples of BorowczykвЂ™s early animated style, a deceptively вЂprimitiveвЂ™ blend of jerky cut-out figures and alternately photorealistic and abstract backgrounds. The astronaut himself isnвЂ™t above the occasional sly bit of voyeurism en route, in a sequence that foreshadows the work that would make Borowczyk notorious a decade and a half later. The shared directing credit with Chris Marker was more for funding than artistic reasons, and MarkerвЂ™s creative input was minimal, although he did come up with the astronautвЂ™s pet owl, one of many characteristically bizarre visual touches. A would-be astronaut (complete with top hat, moustache and pipe: no fresh-faced test pilot but a latter-day Heath Robinson) constructs a viable if ramshackle spacecraft on the roof of his house and launches it to the moon, only to be caught up in an interstellar shootout and a rescue mission. The first animated short that Walerian Borowczyk made outside his native Poland remains a delight to this day.

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