The Duke of Burgundy


Action / Drama / Mystery / Romance

Rotten Tomatoes Critics - Certified Fresh 93%
Rotten Tomatoes Audience - Upright 71%
IMDb Rating 6.6 10 8874


Uploaded By: OTTO
Downloaded 103,684 times
April 24, 2015 at 05:31 AM


Chiara D'Anna as Evelyn
720p 1080p
808.83 MB
24.000 fps
1hr 44 min
P/S 3 / 64
1.64 GB
24.000 fps
1hr 44 min
P/S 2 / 11

Movie Reviews

Reviewed by Cameron A. Straughan 7 / 10

Intoxicating brew of dark, atmospheric erotica

"The Duke Of Burgundy" was a fictional pub in the classic Ealing comedy Passport To Pimlico (1949). It also happens to be the name of a certain species of butterfly found only in England. Far from a film about a friendly neighbourhood pub, or an educational chat with David Attenborough, the 2014 incarnation of The Duke Of Burgundy is encased within a potent atmosphere of unease, sexual tension, twisted eroticism and dark humour. Much like viewing a case of mounted butterflies, we watch the action unfold. Visuals are more important than words. This is a truly cinematic experience that demands its audience closely observe everything before its eyes. The butterfly metaphor may be overused - having been exploited in The Collector (1965) and in The Smiths lyric "You can pin and mount me like a butterfly" - however, it is revisited to great effect in this film.

The film observes the daily routine of Cynthia (Sidse Babett Knudsen) and Evelyn (Chiara D'Anna). Much like insects pinned down and encased under glass, we observe them trapped in a provocative routine that starts with punishment and pleasure and ends with a crumbling emotional facade. As Cynthia yearns for a more conventional relationship, Evelyn's obsession with erotic role-playing threatens to push the two apart.

The Duke of Burgundy is a unique voyeuristic experience courtesy of Peter Strickland, the award winning writer and director of Berberian Sound Studio and Katalin Varga. Much like Berberian Sound Studio, he returns us to the European cult movies of the 1970's. It's refreshing to note that while many recent directors seem to be emulating the crowd-pleasing visuals of The Wachowskis, Lynch, Tarantino or Snyder, Strickland is enthralled with Dario Argento, Lucio Fulci, Jess Franco and Sergio Martino - with a pinch of Bergman. To a certain degree, Strickland's themes and visuals may also owe a debt to lesser known Euro-cult gems like Baby Yaga and Daughters of Darkness.

Anyone who's familiar with The Duke of Burgundy's cinematic lineage knows how essential a good soundtrack is. Many of the original giallo and Euro-sleaze films where soundtracked by the likes of Ennio Morricone, Bruno Nicolai and Goblin. The Duke of Burgundy benefits greatly from a soundtrack by Cat's Eyes, an alternative pop duo featuring vocalist Faris Badwan - of English indie rock band The Horrors - and Italian-Canadian soprano, composer and multi-instrumentalist Rachel Zeffira (sounding rather like Lynch favourite Julie Cruise). Having played their first ever gig in St. Peter's Basilica at the Vatican, during an afternoon mass "attended by seven high-ranking cardinals", the duo are the perfect choice to compliment Strickland's retro Italo-thriller imagery. The opening credit sequence is an especially good mix of sound and image recalling the era perfectly.

If the overtly commercial eroticism of Fifty Shades of Grey leaves you cold, then head down to The Duke of Burgundy and drink in its intoxicating brew of dark, atmospheric erotica.

Reviewed by ns1crr 8 / 10

Intriguing oneiric examination of relationships

Describing this film as exploring the sado-masochistic relationship of two lesbian entomologists in Eastern Europe almost makes it sound like a parody of an art-film, and film critics are going to be falling over themselves to show off how many influences they can recognise. It's not too heavy though; the only time it was too blatant was when Strickland recreates Brakhage's Mothlight. A lot of the time it does feel like Strickland is winking at the audience, though he saves the most obvious gags for the credits, often feeling like he's pastiching lesbian fetishism and 70s arcadian European films. On the one hand this is a strength of the film in that it lightens the mood and entertains, but I do feel as though it stopped the film from entirely drawing me in. The core of the film that examines the relationship is romantic, sweet and moving: about growing old and the demands lovers put on each other in a relationship. For a film about S&M it was a lot less explicit than I thought it would be: there's no nudity and the sex is all obscured or off-screen. The metaphorical parallels were less successful: the moths and entomology never truly feel like a successful metaphor or that they sufficiently enhance the story to justify the attention paid to them. It is an interesting and beautiful film and well worth your time.

Reviewed by Tom Dooley 8 / 10

Fascinating depiction of relationship inter dependencies.

Peter Strickland is a film maker who likes to do things differently – his last feature 'Berberian Sound Studio' will mean you will never look at a vegetable the same way again. Here he takes on the theme of a sadomasochistic, lesbian relationship to examine how we all depend on each other and the inter dependencies that can occur to make relationships work. At the heart are two lovers Cynthia and Evelyn who seem to be in a very one sided relationship – one being mistress and one being badly used servant.

They are also both entomologists and give talks on moths and butterflies – the title 'The Duke of Burgundy' is an actual butterfly orange and brown in colour and found in Europe and mostly Southern Britain. The moths also act as a metaphor in the case of being 'drawn to a flame' scenario; but also the many butterflies pinned and mounted that occur throughout the film reflect the love/abuse relationship in that the very beauty that attracts some people cause them to act in cruel way to the object of desire.

This is not 'Fifty Shades of Grey' the sex is all tastefully done off screen. It is also exceptionally beautifully filmed – in Hungary as it turns out. The attention to style and miniscule details is almost obsessive and worth every effort in terms of rewards for the viewer. It is though about relationships and what we will do for each other – even if it goes against our own particular grain. This is a film for those who appreciate art-house but like it to have one foot in realism (at least) and as such is one I both enjoyed and can easily recommend.

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