LFF 2014: The Duke Of Burgundy ****

As with its central theme of submission, The Duke of Burgundy from British writer-director Peter Strickland (Berberian Sound Studio) demands just that of you to persevere with his exquisitely crafted homage to 60s/70s Euro soft porn that is rather curious to say the least. On a ‘normal’ level, this film looks at relationship role playing, and what happens when one member begins to question their antics and how fulfilled they feel. It is a fascinating piece of filmmaking nevertheless.

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Every day, Evelyn (Chiara D’Anna) and partner Cynthia (Sidse Babett Knudsen) act out a master-and-servant ritual that ends with Evelyn’s punishment and pleasure. If they are not fulfilling fantasies, they are attending Lepidoptera lectures at the local institute in what appears to be a female-only existence in an unnamed European setting. However, as one seeks more erotica, the other begins to yearn for a more conventional relationship, causing the relationship to reach breaking point.

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There is a stunning precision and elegant pose that transcends Duke above the obvious label of ‘soft porn’ erotica that is dallies with, coupled with engrossing animal (butterfly) sounds and imagery. The porn element becomes peripheral merely to extenuate the extreme demands of the central relationship. They attempt to explore new things, keep things fresh, but ultimately, are in danger of reverting back to conventional, societal norms in an absurdly abnormal environment. In the end, as corny as it seems, true love conquers which is why the antics are unsustainable. The plot also suggests age difference can put a strain on a physical relationship — there is little to suggest the women do anything else, socially, other than study butterflies.

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Stars D’Anna and Babett Knudsen are captivating, drawing us in with deliberate actions and reactions, and both look stunning on film. Strickland keeps them alluring and fascinating in each frame. There is a lot of absorb while trying to figure out what seems so unsettling about the actual place that seems to be full of S&M-loving females offering similar services (and implements) to height arousal. The title refers to a butterfly, ironic and a humorous nudge to Strickland’s playful side – there are comical elements in the film, such as a ‘perfume ad’ in the end credits that keep you visually alert if nothing else.

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The Duke of Burgundy is as odd as it is genuinely affectionate, with Strickland treating both female characters with respect and awe, even if their antics often suggest otherwise – he worships the female form as much as the delicate beauty of the insect. In that respect it is even more anti-soft porn in its approach than first thought. It is perhaps one of Strickland’s finest works so far – and surprisingly, his most commercial to bring in new audiences.

By @FilmGazer