You are here:

Immoral Women

Name: Immoral Women
Director: Walerian Borowczyk
Released: 1979
Duration: 109 min

Representation Score

5.0/10

Fair

1979

Director

Walerian Borowczyk

Runtime

109 minutes

Average Rating

No ratings yet

New Showbiz Analysis

Walerian Borowczyk’s *Immoral Women* is a transgressive exploration of desire that dismantles traditional moral hierarchies. Through an episodic structure, the film rejects a unified moral compass in favor of a relativistic approach to human behavior. The film succeeds in challenging traditional gender power dynamics by emphasizing female autonomy. However, it lacks broad representation of racial and LGBTQ+ identities. Ultimately, the film serves as a critique of societal constraints. It uses the breakdown of order and the subversion of religious institutions to highlight individualistic transgression as a core human experience.

Watch this, not that →

Category Breakdown

Does Immoral Women have LGBTQ+ representation?

Limited

The film does not explicitly depict non-straight relationships or queer themes. It focuses mainly on heterosexual relationships and individual pleasure.

How does Immoral Women portray gender?

Excellent

The film emphasizes female sexual autonomy and control, especially in the Renaissance setting. Female characters drive their own erotic stories, challenging traditional submissive roles.

How racially and ethnically diverse is Immoral Women?

Limited

Casting is predominantly white, reflecting the historical European context. The film does not use diverse casting to diversify its historical setting.

How does Immoral Women represent religion and culture?

Excellent

The film effectively critiques traditional Western institutions. It portrays religious and social structures as decadent, presenting traditional morality as an obstacle.

Does Immoral Women include disability representation?

Minimal

There is no indication of the portrayal of physical or neurodivergent disabilities in the film's narrative or themes.

Present on Screen

Challenges traditional gender power dynamics by emphasizing female autonomy.
Critiques Western religious and social institutions through a lens of decadence.
Challenges traditional submissive roles for women in historical settings.

Limited or Absent

Lacks explicit depiction of non-straight relationships or queer themes.
Maintains a predominantly white cast, lacking racial and ethnic diversity.
Does not address or represent physical or neurodivergent disabilities.

Official Synopsis

The first episode – featuring frequent Borowczyk muse Marina Pierro – is the longest and, in a way, most substantial: it’s set in Renaissance Rome, with the lusty (and perpetually nude) leading lady sexually involved with famous painters and church benefactors. The second episode is the most notorious and, consequently, gave the film its controversial poster – featuring a rabbit slowly disappearing under the skirt of a teenage girl (played by Gaelle Legrand). The third and final episode, which has a modern-day setting, is the shortest – but also, possibly, the most outrageous: Pascale Christophe is a young married woman who’s abducted on a busy Parisian street by a small-time hood hidden inside a cardboard box!

How are these scores produced? →