The Duke of Burgundy (2014)
Two women, Cynthia and Evelyn, a life behind closed doors, fetish and discomfort, the exploration behind a relationship. It's unfair to those who wish to see this to delve too deeply plot wise into this surreal, gorgeous work from British director Peter Strickland.
A film about domination, but as far as the fetish aspect goes it's not a film about whips and leather. Instead we have facesitting, encasement, panty and lingerie, and peeing, in the womens game of dominance. It was lovely to see the two lead actresses were both beautiful older women, possibly bored by the typical aspects of a sexual relationship. It was also interesting to note there wasn't a single male character at any time.
Role reversal and who is really in control is turned on it's head after the 20 minute mark. Seemingly the main focus of the film, together with the womens overall relationship which behind the S&M facade is often very tender. This aspect of the film runs in tandem with the teachings about moths and crickets. The markings on their bodies and their use of deception to the outside world. A deception all too apparent in every aspect of the women's relationship. The fact that the dominated is also growing slowly more weary of her role gives the second half of the film a sympathetic feel which wasn't apparent during the opening forty or so minutes.
Strickland gives the film a wickedly funny streak at times. Lines such as "So, if i had ordered a human toilet none of this would have happened?" pepper the script and allow us often awkward laugh out loud moments of pleasure.
Strickland's film is definitely influenced by the erotic works of seventies Euro auteurs Jess Franco and Jean Rollin, in fact it doesn't take more than a passing knowledge of their work to come to this conclusion. So much so as it's the first thing the director talks about in the interview reel on the disc. It's not just Euro-erotica though, Strickland also revisits themes of his own such as the sound and vision of Berberian Sound Studio and the East European location work, in this case Hungary with the gorgeous photography of his debut Katalin Varga. Both elements which enhance the film's strengths. Strickland certainly has an eye for the Gothic as was hinted at in the aforementioned Katalin Varga. We are often treated to delightful night time Gothic imagery, such as girls in white robes wafting down dark stair cases lit only by the candelabra in their grasp.
The Duke of Burgundy's overall effect is a mesmerizing, melancholic, occasionally bewildering and often daring, piece of modern erotica which i enjoyed immensely. And do you know what? There wasn't a single scene of nudity at all, but you won't notice thanks to the onscreen inventiveness which captures that dark side of your imagination.
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