Review for The Duke of Burgandy

I was really keen to watch this DVD release having missed it during its theatrical run (presuming it had one?). Not only did its promise as homage to the surreal euro-sleaze vampire films of Jess Franco and Jean Rollins appeal, but it was also conceived, written and directed by Peter Strickland whose ‘Berberian Sound Studio’ was arguably the best low budget film of 2012.


‘Berberian Sound Studio’ had been full of dark intrigue; plenty of euro-horror and giallo influence and all delivered with a David Lynch off-kilter sensibility and dark humour. It turns out that ‘Duke of Burgandy’, whilst a vastly different film in many regards, manages to achieve much of the same, though perhaps with less humour.


It’s another film of unique vision, carefully crafted and looking exquisite, despite its relatively low budget. It’s certainly another unusual film, not least as it has an all femaie cast, even when the film spills from the confines of a remote house to a local lecture theatre.



Cynthia (Sidse Babett Knudsen) is a lepidopterist (she studies moths and butterflies); an academic of some repute and Evelyn (Chiara D'Anna) is her assistant. She is also her lover. They live together in a remote mansion house where Cynthia carries out her research and where the two of them can indulge in their master/servant fantasies. These fantasies involve the sub-servient Evelyn being dominated and bullied by Cynthia although before long it becomes apparent that it is Evelyn’s fantasy to be dominated and Cynthia is being persuaded to comply.


Over the course of a pleasantly slow-moving and yet never dull 90 minutes, we see this relationship develop to a breaking point that sees Cynthia somehow unable to maintain such a commanding and in some ways vicious role in relation to the woman she loves. In the meantime, there are those lectures in the halls filled with curious women as well as a visitor who seems to upset the whole balance of the ladies relationship with each other in some inexplicable and never explained way.



Whilst I was waiting for the Jess Franco & Jean Rollin references, what is actually delivered is much more than mere homage. Indeed, ‘Duke of Burgandy’ could only be loosely compared to those director’s work in terms of visual style and pace. Everything else is pure ‘Strickland’ if such a compliment can be paid to a man whose work thus far comprises just two features. I think it can. Strickland is the nearest thing to a genuine auteur that this decade has offered up thus far.


It’s actually very easy to get lost in the striking visuals of the film and you’d be forgiven for failing to notice the incredible performances by the two leads, Knudsen and D'Anna. Despite the frugal use of dialogue much is conveyed by the tiniest twitch of the eye or mouth, accentuated by frequent use of extreme close-ups which means these performances can be almost forensically observed.


The sex scenes, and there are a few, are super-stylised and whilst the implications are often clear there is never a show of ‘skin’. One sequence, which was positively Lynchian, was a very slow and deliberate zoom between the stockinged legs of Cynthia into a dark, nightmarish and ill-defined space that would have Freud throwing away his analyst pad. The film is full of oblique hints and clues, and in common with Lynch, one interpretation is probably as good as the next. Strickland is probably working on instinct here and may be just as unsuer about what it all means. The result is a multi-layered and intellectually challenging piece that often defies description and which, despite claiming to be a homage, avoids cliché.


On balance, I think I would be more likely to pull out ‘Berberian’ for a second viewing than ‘Duke’ but that’s probably because that film’s humour made it an easier watch. But this is a mighty fine second movie, signalling (I hope) great things ahead from Strickland. If he avoids the lure of bid budgets and big studios, who knows? Maybe he’ll never get talked into making a film like ‘Dune’.


You should definitely pick this up. Even if it’s just for the brilliant ‘Cat’s Eyes’ score (surely that must be out as a soundtrack release?).
The DVD looked great although, given the choice, I’m sure the Blu-ray would do its cinematic intent even greater justice.


There are a couple of interesting extra features on the disc too, including an interview with Strickland who strikes me as very hesitant and bottled up but with potentially much to say. There’s also an audio commentary and a copy of one of Strickland’s pre-Berberian shorts, an experimental film featuring dogs chasing cars which he probably enjoyed making far more than you will watching.

There’s also a feature with audio of varying moth sounds and a video featuring ‘Cat’s Eyes’.

Well worth picking up.