The Duke of Burgundy

Days and nights, Cynthia and Evelyn perform a carefully staged ritual of domination and submission, a private world built on mistress and maid. The ritual feels precise and intimate, with rules and rewards that shape their love. But as the routine grows predictable, Cynthia longs for a more conventional closeness, while Evelyn pushes their fantasies into darker territory. The film quietly maps power, desire, and vulnerability through minimal dialogue, tactile details, and restrained performances. What starts as erotic play gradually tests trust and affection, inviting viewers to read the shifts beneath the surface without revealing any big twists. The camera lingers on textures and gestures, turning their private dynamic into a patient meditation on consent and care in every gesture.

Directed by Peter Strickland and released in 2014, The Duke of Burgundy is built from an original screenplay rather than an adaptation. It features Sidse Babett Knudsen and Chiara D'Anna and carried a modest true budget of about 1 million.

Box office details are not widely publicized for this limited release arthouse drama, and box office numbers are not readily available. The film did attract a small but dedicated niche audience across festivals and streaming releases globally to cinephiles worldwide.

The Duke of Burgundy has carved a niche among arthouse cinema fans with its tactile visuals and sparing dialogue. Its stylized look at power and desire influenced indie filmmakers and remains a talking point in discussions of drama. The film's craft invites viewings and sparks debates on consent and fantasy.

Critics highlighted the film's restrained mood, precise production design, and quiet performances, framing it as a meditation on intimacy and control rather than explicit sexuality. The relationship dynamic is scrutinized with empathy, revealing how routine can both connect and confine lovers, inviting ongoing reflection on consent and responsibility today worldwide.