Immoral Tales
Walerian Borowczyk
['nicholas pileggi', 'hugo del carril', 'nanette burstein', 'saul bass', 'claude miller', 'frank tashlin', 'chimbu deven', 'eric ambler', 'takahata', 'steve martin', 'arch oboler', 'jyothi krishna', 'david chase', 'erik balling', 'arthur conan doyle', 'peter spierig', 'martha coolidge', 'frank capra', 'emlyn williams', 'chen kaige', 'william dear', 'francesco rosi', 'charles bronson', 'tim whelan', 'scott rosenberg', 'melvin frank', 'dariush mehrjui', 'pupi avati', 'giovanni pastrone', 'stuart heisler', 'habib faisal', 'john cassavetes', 'james dickey', 'anthony asquith', 'paul brickman', 'michel blanc', 'kathir', 'budd schulberg', 'robert riskin', 'yasunari kawabata', 'gianni amelio', 'budd boetticher', 'jean aurel', 'stan laurel', 'dan harris', 'samson raphaelson', 'lars jansson', 'peter laird', 'stacy keach', 'alma reville', 'henri verneuil', 'frances goodrich', 'michael reaves', 'puri jagannadh', 'jack finney', 'sajid khan', 'hayao miyazaki', 'charles maigne', 'elinor glyn', 'george axelrod', 'max linder', 'patrice leconte', 'kona venkat', 'tennessee williams', 'ben elton', 'mansoor khan', 'primo zeglio', 'jimmy sangster', 'carole eastman', 'harry shearer', 'feng xiaogang', 'jeethu joseph', 'jerry paris', 'nanni moretti', 'lee daniels', 'jack black', 'alistair maclean', 'chuck palahniuk', 'gary david goldberg', 'jason segel', 'li minwei', 'emma thompson', 'mel brooks', 'willem dafoe', 'benchley', 'so yong kim', 'kader khan', 'kaizad gustad', 'stephane gauger', 'brian aldiss', 'steven bochco', 'chris carter', 'chris rock', 'stephen susco', 'quentin tarantino', 'terence winter', 'scott shaw', 'edward burns', 'iqbal durrani']
Immoral Tales (film)
Immoral Tales (French: Contes immoraux) is a 1974 French anthology film directed by Walerian Borowczyk. The film was Borowczyk's most sexually explicit at the time. The film is split into four erotic-themed stories that involve the loss of virginity, masturbation, bloodlust and incest. After the release of Immoral Tales, Borowczyk began to fall out of favor with film critics. Modern critical reception to the film is that it is not one of Borowczyk's strongest works.