[citation needed] Together with Emil Stepanek and Artur Berger he was also responsible in Vienna, on the epics of Michael Curtiz and Alexander Korda, for the most spectacular sets ever constructed for an Austrian film, in particular the gigantic Temple of Sodom in Sodom und Gomorrha (1922), which because of its sheer size had to be built in the open air, on the Laaer Berg.
He worked on Hans Behrendt's Potsdam, das Schicksal einer Residenz (1927) and Phil Jutzi' s Berlin-Alexanderplatz (1931), based on Alfred Döblin's book of the same name.
Besides buildings he also created the façades and decorations of other productions with historical and costumed backgrounds, such as Danton (1931) and the Schubert biography Leise flehen meine Lieder (1933).
Shortly before the National Socialists took power in Germany, Borsody returned to Vienna, where for the next few years he worked on a number of films in the Wiener Film genre, light romantic musical comedies, the action of which was generally set in the late imperial period of about 1900: Hohe Schule (1934), Tales from the Vienna Woods (1934), The White Horse Inn (1935) and others.
After the Anschluss (the annexation of Austria to Germany in 1938) Borsody became principal architect of the Nazi-owned Wien-Film, but also occasionally worked on buildings for productions of Bavaria Film in Munich.