The Duke of Burgundy is not for everyone. Viewers expecting a thriller or a traditional romance will be bored. Viewers expecting titillation will be frustrated.
What you get is one of the most exquisitely strange and intellectually rigorous films about the nature of love, control, and consent ever committed to celluloid.
If there is a flaw, it is that the film’s deliberate pacing can sometimes feel like a test of endurance. The repetition is the point—showing the monotonous, unsexy reality of scheduling your kinks—but around the 60-minute mark, the film’s small runtime starts to feel longer than it is.
The twist is that Evelyn is the one writing the daily script. She is the dominant partner in the relationship demanding to be subjugated. The Duke of Burgundy is a film about the exhausting, beautiful, and often heartbreaking logistics of a long-term BDSM relationship—but one that feels less like Fifty Shades of Grey and more like a lost, erotic Ingmar Bergman film.
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