The Duke of Burgundy

The Duke of Burgundy, a film released in 2014 and directed by British filmmaker Peter Strickland, ventures into the intriguing world of alternative sexuality and the complexities of intimate relationships. It beautifully includes a rare blend of sensual psychology, latent mystery, and visually eclectic art.

The movie features the compelling performances of Sidse Babett Knudsen, who audiences may recognize from her lead role in the celebrated television series, “Borgen.” Knudsen plays Cynthia, a sophisticated and dominating woman of an enigmatic nature. The other protagonist - Evelyn, who is both a diligent maid and a passionate submissive lover, is portrayed by Chiara D'Anna. Acclaimed actress Monica Swinn is also featured in the film, adding depth to the cast.

The Duke of Burgundy, set in an unspecified European region and time, blurs the lines of genre. The film might be best described as a dark fairy tale presenting a dreamy erotic drama. Strickland crafts a world dominated by women, focusing on the intimate domestic life of Cynthia and Evelyn. Subliminally implying the removal of conventional male-female relationship dynamics, the film explores a unique landscape devoid of masculine influences.

Sidse Babett Knudsen's Cynthia lives in a rural mansion exhibiting mid-century aesthetics, choosing a reclusive lifestyle, preoccupied by her pursuit of studying butterflies and moths, also known as Lepidoptera. She is joined by Evelyn, who is hired as a housekeeper. To the casual observer, they appear to be a lady of the house and her maid.

However, as the story unwinds, the audience soon discovers that the Cynthia and Evelyn's relationship extends beyond that of employer and employee. The Duke of Burgundy dives into the world of BDSM culture, showcasing a very personal, emotional, and psychological relationship between these two women. The mutual love, respect, and consensual agreement between them place the movie a notch above the regular erotic genre. There are rituals that they follow, which involve domination and submission, but it's clear that both women are participants by choice.

The characters of Cynthia and Evelyn, while engaging in erotic games that offer pleasure, simultaneously explore the burdens of fulfilling their roles within their gamified relationship, amplifying the complexities of the human heart in love. It’s a multifaceted look at how lovers adapt, control, and sometimes sacrifice for the happiness of their partners.

Director Strickland perceive the lovers' dance through a strikingly artistic and feminine lens. There is opulence in the project's aesthetics, with plush settings and richly coloured costumes, complemented perfectly by tactile sound design and dense, vibrant cinematography. Vintage Euro-cinema devotees will appreciate the intricately lined up shots, offering mild surrealism with its gothic undertones.

The narrative digresses, primarily during the second half, drifting from the central characters, and plunging into a fascinating exploration of butterflies. As Cynthia's passion, the metaphorical relevance of these captivating, delicate creatures to the movie’s subject matter and sensual mood is thought-provoking. The transient beauty of butterflies, their intricate patterns, the process of metamorphosis, and the fine balance between freedom and vulnerability, all echo beautifully in the love story of Cynthia and Evelyn.

As for the film’s somewhat puzzling title, "The Duke of Burgundy" is actually a rare species of butterfly, pointing at the movie’s deep-rooted thematic symbolism.

Accompanied by an eerie, retro soundtrack, representative largely of the genre 'Giallo', typically of Italian thrillers from the 70s, it reinforces the immersive and artisanal approach Strickland adopts in his film-making. Tim Gane's dreamlike score, which washes over the viewer and further emphasizes the emotional immediacy of a refined love story playing out between Cynthia and Evelyn.

In The Duke of Burgundy, Strickland combines vibrant aesthetics, resonating metaphors, powerful performances, and acute psychological perceptions to create an enchantingly unique cinematic experience. The film explores the nature of erotic love, the fluidity of dominance and submission, the implications of role-play, and the sacrifices made for love, all shrouded in moody mystery and elegant, sensual art.

The Duke of Burgundy stands firm on its own, a timeless testament of human passion and whimsical love. It neither demands nor cares for the viewer's comfort or acceptance, but instead, engrosses one into a secluded world of refined eroticism and deeply sentimental intimacy.