The Duke of Burgundy (2014) Reviews

• Fascinating depiction of relationship inter dependencies.

  t-dooley-69-3869162015-04-29

  Peter Strickland is a film maker who likes to do things differently – his last feature 'Berberian Sound Studio' will mean you will never look at a vegetable the same way again. Here he takes on the theme of a sadomasochistic, lesbian relationship to examine how we all depend on each other and the inter dependencies that can occur to make relationships work. At the heart are two lovers Cynthia and Evelyn who seem to be in a very one sided relationship – one being mistress and one being badly used servant. They are also both entomologists and give talks on moths and butterflies – the title 'The Duke of Burgundy' is an actual butterfly orange and brown in colour and found in Europe and mostly Southern Britain. The moths also act as a metaphor in the case of being 'drawn to a flame' scenario; but also the many butterflies pinned and mounted that occur throughout the film reflect the love/abuse relationship in that the very beauty that attracts some people cause them to act in cruel way to the object of desire. This is not 'Fifty Shades of Grey' the sex is all tastefully done off screen. It is also exceptionally beautifully filmed – in Hungary as it turns out. The attention to style and miniscule details is almost obsessive and worth every effort in terms of rewards for the viewer. It is though about relationships and what we will do for each other – even if it goes against our own particular grain. This is a film for those who appreciate art-house but like it to have one foot in realism (at least) and as such is one I both enjoyed and can easily recommend.

• A beautiful film, but one lacking in substance

  Leofwine_draca2016-06-14

  Peter Strickland's follow-up to BERBERIAN SOUND STUDIO is an equally arty mood piece, although a film with even less plot (if that's even possible). Instead, the narrative structure focuses on building up characters and relationships and a very specific atmosphere, without worrying too much about story lines or character arcs. As with BERBERIAN, it's a film I'm in two minds about. On a physical level, it's very well made indeed and often beautifully shot. I particularly loved the '70s-themed opening credits which are quite breathtaking. As you'd expect from Strickland, the attention to detail in terms of sound is also quite wonderful; this is a film that has clearly been carefully edited, which must have been a painstaking process. What I didn't enjoy so much was the foot-dragging pace, or the lack of either resolution or explanation. In short, THE DUKE OF BURGUNDY explores the relationship between a pair of lesbian lovers, where one is the dominant mistress and the other a submissive servant. Interest arises from a twist where it gradually turns out that the submissive girl is very much the one in control. I liked that aspect of it, and the two actresses are very convincing in their parts. But what's the overall result? This is a nice film to watch and enjoy purely on an artistic level. But it seems there's little to keep you coming back. This certainly isn't an exploitation piece, as any questionable material is kept off-screen and there isn't even any nudity. It's restrained, chilly, beautiful, sure, and I enjoyed the entomological background, but once I'd spent nearly two hours with this movie I was eager to go on to find something with more substance.

• The definitive D/s film

  Elliott-32015-02-21

  Forget 9 1/2 Weeks, forget Last Tango in Paris, forget Secretary and most definitely forget 50 Shades, this is THE definitive cinematic essay on a dom/sub relationship. The idea is a fascinating and brave one: to create an homage to artistic elements of the "disreputable" sexploitation movies of the 1970s and make it beautiful and profound. It's another movie that full of references to other movies and to the movie-making process. I recognised only little hints of Just Jaekin, being unfamiliar with the other influences. I did spot the marker tape on the carpet that serve two purposes, practical and metaphorical. Er.. three, there are two metaphors going on, I think, one plot-related and one post- modern commentary. Talking of plot, it is so slight that it could be explained in three sentences. I won't, obviously, but honestly it wouldn't matter if I did. What matters is the manner of the telling. The story inhabits a strange dream-like space where everyone in the town is a fetishistic female entomologist! (If anyone can explain the significance of the entomology, please do, I'm all ears!) But within the unreal external world, the two heroines inhabit an emotional world that is utterly believable. In sumptuous but slightly muted autumn colours, the film looks gorgeous. I found it sensual, very erotic (despite there being no more than a few seconds of anything you could call "sex" and no nudity at all), emotionally engaging, warm, sad, funny and REAL. Although the story deals exclusively with dominance and submission (no trace of S&M despite what it says in all the publicity, including in interviews with the director) it is a universal story about conflicting desires, fantasies, trust and compromise. In some way, it is a story for every relationship. I absolutely loved this film.

• Intoxicating brew of dark, atmospheric erotica

  cameron_straughan2015-07-11

  "The Duke Of Burgundy" was a fictional pub in the classic Ealing comedy Passport To Pimlico (1949). It also happens to be the name of a certain species of butterfly found only in England. Far from a film about a friendly neighbourhood pub, or an educational chat with David Attenborough, the 2014 incarnation of The Duke Of Burgundy is encased within a potent atmosphere of unease, sexual tension, twisted eroticism and dark humour. Much like viewing a case of mounted butterflies, we watch the action unfold. Visuals are more important than words. This is a truly cinematic experience that demands its audience closely observe everything before its eyes. The butterfly metaphor may be overused - having been exploited in The Collector (1965) and in The Smiths lyric "You can pin and mount me like a butterfly" - however, it is revisited to great effect in this film. The film observes the daily routine of Cynthia (Sidse Babett Knudsen) and Evelyn (Chiara D'Anna). Much like insects pinned down and encased under glass, we observe them trapped in a provocative routine that starts with punishment and pleasure and ends with a crumbling emotional facade. As Cynthia yearns for a more conventional relationship, Evelyn's obsession with erotic role-playing threatens to push the two apart. The Duke of Burgundy is a unique voyeuristic experience courtesy of Peter Strickland, the award winning writer and director of Berberian Sound Studio and Katalin Varga. Much like Berberian Sound Studio, he returns us to the European cult movies of the 1970's. It's refreshing to note that while many recent directors seem to be emulating the crowd-pleasing visuals of The Wachowskis, Lynch, Tarantino or Snyder, Strickland is enthralled with Dario Argento, Lucio Fulci, Jess Franco and Sergio Martino - with a pinch of Bergman. To a certain degree, Strickland's themes and visuals may also owe a debt to lesser known Euro-cult gems like Baby Yaga and Daughters of Darkness. Anyone who's familiar with The Duke of Burgundy's cinematic lineage knows how essential a good soundtrack is. Many of the original giallo and Euro-sleaze films where soundtracked by the likes of Ennio Morricone, Bruno Nicolai and Goblin. The Duke of Burgundy benefits greatly from a soundtrack by Cat's Eyes, an alternative pop duo featuring vocalist Faris Badwan - of English indie rock band The Horrors - and Italian-Canadian soprano, composer and multi-instrumentalist Rachel Zeffira (sounding rather like Lynch favourite Julie Cruise). Having played their first ever gig in St. Peter's Basilica at the Vatican, during an afternoon mass "attended by seven high-ranking cardinals", the duo are the perfect choice to compliment Strickland's retro Italo-thriller imagery. The opening credit sequence is an especially good mix of sound and image recalling the era perfectly. If the overtly commercial eroticism of Fifty Shades of Grey leaves you cold, then head down to The Duke of Burgundy and drink in its intoxicating brew of dark, atmospheric erotica.

• 'The Duke of Burgundy' is a kinky, hallucinatory gem from a unique director.

  dipesh-parmar2015-03-09

  Cynthia (Sidse Babett Knudsen) is a middle-aged woman, a professor who studies butterflies and moths. She lives in an opulent house full of books and insects, we do not know where she lives or in what time but its safe to assume its in the 1970's. Her life revolves around regular visits to the library, seminars about butterflies and moths, and causing as much pain to her maid as possible. The younger Evelyn (Chiara D'Anna) works as the maid, and Cynthia finds any excuse to find fault in Evelyn's work. But we soon learn that Evelyn is the dominant half of this relationship, who demands that Cynthia performs in an elaborate erotic game of her choosing. But what was once daring and sexually charged, becomes stifling for both who soon lose patience. Not even some bespoke erotic furniture can mask the problems in their fragile relationship. Peter Strickland's last film 'The Barbarian Sound Studio' was a homage to Italian horror films of the 70's, and 'The Duke of Burgundy' does the same for the European Erotica films from the same era. Its often a very funny film, including cinematic firsts in the credits for a Human toilet consultant and Perfumes by Je Suis Gizelle! 'The Duke Of Burgundy' may be an acquired taste to some, it's a beautifully shot film. It's a curious study of an unusual love affair with universal connections, aided by two fine performances from Knudsen and D'Anna who show a great deal of restraint. A lot of questions about their relationship go unanswered, but its not to the films detriment. 'The Duke of Burgundy' is a kinky, hallucinatory gem from a unique director.