Watch: The Duke of Burgundy 2014 123movies, Full Movie Online – A woman who studies butterflies and moths tests the limits of her relationship with her lesbian lover..
Plot: Day in and day out, lovers Cynthia and Evelyn enact an elaborate sadomasochistic fantasy as mistress and maid. But as their ritual of domination and submission begins to turn stale, Cynthia yearns for something more conventional, while Evelyn tries to push their taboos even further.
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|6.5/10 Votes: 13,387|
|94% | RottenTomatoes|
|87/100 | MetaCritic|
|N/A Votes: 273 Popularity: 9.63 | TMDB|
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.
A beautiful film, but one lacking in substance
Peter Strickland’s follow-up to BERBERIAN SOUND STUDIO is an equally arty mood piece, although a film with even less plot (if that’s even possible). Instead, the narrative structure focuses on building up characters and relationships and a very specific atmosphere, without worrying too much about story lines or character arcs.
As with BERBERIAN, it’s a film I’m in two minds about. On a physical level, it’s very well made indeed and often beautifully shot. I particularly loved the ’70s-themed opening credits which are quite breathtaking. As you’d expect from Strickland, the attention to detail in terms of sound is also quite wonderful; this is a film that has clearly been carefully edited, which must have been a painstaking process.
What I didn’t enjoy so much was the foot-dragging pace, or the lack of either resolution or explanation. In short, THE DUKE OF BURGUNDY explores the relationship between a pair of lesbian lovers, where one is the dominant mistress and the other a submissive servant. Interest arises from a twist where it gradually turns out that the submissive girl is very much the one in control. I liked that aspect of it, and the two actresses are very convincing in their parts.
But what’s the overall result? This is a nice film to watch and enjoy purely on an artistic level. But it seems there’s little to keep you coming back. This certainly isn’t an exploitation piece, as any questionable material is kept off-screen and there isn’t even any nudity. It’s restrained, chilly, beautiful, sure, and I enjoyed the entomological background, but once I’d spent nearly two hours with this movie I was eager to go on to find something with more substance.
Original Language en
Runtime 1 hr 44 min (104 min)
Rated Not Rated
Genre Drama, Romance
Director Peter Strickland
Writer Peter Strickland
Actors Sidse Babett Knudsen, Monica Swinn, Chiara D’Anna
Country United Kingdom, Hungary
Awards 7 wins & 28 nominations
Production Company N/A
Sound Mix N/A
Aspect Ratio 2.35 : 1
Camera Arri Alexa Plus, Zeiss Super Speed and Angenieux Optimo Lenses
Laboratory Company 3 (digital intermediate)
Film Length N/A
Negative Format SxS Pro
Cinematographic Process Digital Intermediate (2K) (master format), ProRes 4:4:4 (1080P/24) (Source Format)
Printed Film Format DCP