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The Duke of Burgundy (2014)

Not Rated | | Drama, Mystery, Romance | 23 January 2015 (USA)
Trailer
1:56 | Trailer
A woman who studies butterflies and moths tests the limits of her relationship with her lesbian lover.

Director:

Peter Strickland
7 wins & 27 nominations. See more awards »

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Cast

Complete credited cast:
Chiara D'Anna ... Evelyn
Kata Bartsch Kata Bartsch ... Dr. Lurida
Sidse Babett Knudsen ... Cynthia
Monica Swinn ... Lorna
Zita Kraszkó Zita Kraszkó ... Dr. Schuller
Gretchen Meddaugh Gretchen Meddaugh ... Dr. in Audience
Eszter Tompa Eszter Tompa ... Dr. Viridana
Fatma Mohamed Fatma Mohamed ... The Carpenter
Eugenia Caruso ... Dr. Fraxini / The Scream (voice)
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Storyline

A woman who studies butterflies and moths tests the limits of her relationship with her lesbian lover.

Plot Summary | Add Synopsis

Genres:

Drama | Mystery | Romance

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

UK | Hungary

Language:

English

Release Date:

23 January 2015 (USA) See more »

Also Known As:

Burgonya Dükü See more »

Filming Locations:

Hungary See more »

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Box Office

Budget:

$1,000,000 (estimated)

Opening Weekend USA:

$11,902, 25 January 2015

Gross USA:

$64,521

Cumulative Worldwide Gross:

$185,147
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Monica Swinn, who plays the hostile neighbor Lorna, worked a lot with director Jess Franco, who Peter Strickland finds an inspiration for his career and this movie in particular. See more »

Quotes

The Carpenter: Would a human toilet be a suitable compromise?
See more »

Crazy Credits

The credits for the insect sounds include a full scientific description of the location and weather conditions under which each was taken. For instance, the Gryllotalpa vineae sounds were "recorded by W.J. Reynolds on 26th November 1991 at 11:45 hours a Nagra 4D tape recorder and Sennheiser MKH 405 microphone in dim light at 21 degrees centigrade". See more »

Connections

Referenced in Fake or Fortune?: Lowry (2015) See more »

Soundtracks

Carpenter Arrival
Written by Rachel Zeffira & Faris Badwan
Performed by Cat's Eyes
See more »

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User Reviews

 
profound and engrossing
20 March 2015 | by christopher-underwoodSee all my reviews

This is a profound and engrossing film. Peter Strickland is clearly less a fan of cinema than a fanatic for film and there is a difference. He believes that film does not depict reality but is a reproduction of reality and therein lies his fascination. He is excited by this process and through his films similarly excites us. In this film, ostensibly about a couple of ladies living out a BDSM relationship in a rambling old mansion, his filmic inspiration is Stan Brakhage. Brakhage, who died only a few years back. experimented with film all his life, and was introduced to me many, many years ago as I sat in a mattress strewn room, four floors up in an otherwise derelict building in Camden. One of Brakhage's early films was Mothlight (1963) and was made without the use of a camera, by pressing the wings of moths into the negative that was then projected giving and unworldly effect that was not unlike staring at a light surrounded by fluttering moths. Strickland replicates this wonderfully in a sensational dream sequence in his film and is the reason for the insects featuring so prominently. As in his previous films, Strickland is as fascinated with sound as much as picture and here the soundtrack is punctuated with the scratchings and flutterings of butterflies and moths, the purring of the cat and a madam snoring. With so many visual and aural treats we sometimes tend to lose focus on the two ladies but are soon brought back by another twist in the tale. On the face of it this tale of a dom and a sub should be simple enough to tell but the director takes his time to establish the exact tone he wants so we can accept as 'true' what we see before us, even as it changes before our very eyes. As you may have gathered from my rambling, this is no ordinary film and the expected, bare flesh and lashings do not appear but plenty more does, more or less on screen, including the 'human toilet' and a fantastic masturbatory sequence with verbal instructions. So, to conclude, for me Strickland has done it again, a wonderful film, almost out of nothing as he allows his love of 'this unexplored corner of cinema that is still seen as disreputable' (principally, giallo and sexploitation) to colour his vision (and sound) for our delight.


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