|"Should we go into town to see a film?"|
At Little White Lies, David Ehrlich has a nice review of The Duke of Burgundy, writing, "Peter Strickland's sapphic giallo dream is a tied-up and twisted masterpiece."
A few minutes into Peter Strickland’s The Duke of Burgundy, the matron of a gorgeous European estate pulls her maid into a bathroom and pisses into her mouth. That’s the exact moment when it becomes clear that these two women are deeply in love with each other.
Perhaps the major discovery of this year’s Toronto International Film Festival, The Duke of Burgundy is a Certified Copy riff for the S&M crowd, Strickland’s third feature cementing his status as a world talent while also assimilating shades of early Fassbinder and a diffuse (but palpable) giallo atmosphere into its cheeky exploration of relationships and their performative nature
At Screen Daily, Allan Hunter writes, "The Duke Of Burgundy is a complex, melancholy romance in which love is sustained by negotiating the limits of desire and understanding the expectations of your partner. It is an odd, original and beguiling work."
Robbie Collin writes at The Telegraph:
In the same way Strickland’s last film, Berberian Sound Studio, invoked the black gloves and curdled screams of giallo horror without actually making a home for itself in that genre, The Duke of Burgundy draws on the sexually charged European chillers of the late 1970s, by directors like Jess Franco and Joe D’Amato – it operates at the same kind of sex-dazed remove as Vampyros Lesbos or Lorna the Exorcist, although here, that forbidden creaminess comes spiced with very British humour.
Jordan Hoffman writes at The Guardian:
The Duke of Burgundy will have its detractors. But this is not just a filthy movie. It's a considerable work of art, and one that touches on a rarely discussed side of human sexuality completely free of judgement. You may be surprised to find shades of your own life in Evelyn and Cynthia's fragile relationship.
Meanwhile, Culture Addicts looks at the soundtrack by Cat's Eyes:
Cat’s Eyes have created a compelling atmosphere which beautifully showcases [Rachel] Zeffira’s classical leanings and [Faris] Badwan’s darker side, while drawing previously invisible arcs between Verdian Requiems, Phil Spector pop, and Paul Giovanni’s Wicker Man.
Unfortunately, I can find no reviews of Peter Strickland's mole cricket 7".
|Sorry, little guy.|
THE DUKE OF BURGUNDY Final Screening:Monday, Sept 8th 3:15 PM SCOTIABANK 12