Film
The Duke of Burgundy
Peter Strickland's hypnotic, all-female fantasia follows Cynthia and Evelyn through a strict daily ritual of dominance and submission — and the quiet exhaustion that sets in when a fantasy becomes routine. Shot like a fever dream of moths, wood-panelled rooms and 1970s giallo scores, it's less about sex than about the negotiations any long relationship runs on. Gorgeous, slow, tender underneath the leather.
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Belle de Jour1967
Catherine Deneuve's icy, dreamlike double life as a bored wife turned daytime prostitute set the template for cinema's fascination with female fantasy and role-play as its own kind of reality.
But Buñuel's surrealism can feel opaque and cold rather than erotic, and its 1967 gender politics haven't aged gently.

Secretary2002
A genuinely romantic, funny take on submission and dominance between a lawyer and his new secretary, treating kink as a language of care rather than shame or spectacle.
But Its tidy, redemptive ending smooths over questions Duke of Burgundy leaves open, and the office setting is far more conventional.

Berberian Sound Studio2012no page yet
Strickland's earlier film, a queasy descent into the sound design of a 1970s Italian horror movie, shares the same saturated colour, dread and obsession with texture and repetition.
But It's a horror film with almost no plot payoff, more sensory experiment than story, and can feel frustratingly abstract.
The wildcard
Something you would not have found on your own.
Scenes from a Marriage2021
Same engine as Strickland's film — two people trapped in a domestic routine, quietly renegotiating who plays which role — but stripped of costume, colour and any erotic frame, just a heterosexual couple talking it out.
Bergman's six-part dissection of a crumbling marriage is astonishingly intimate, all long two-person conversations about roles, resentment and the scripts couples fall into without noticing.
But There's no kink, no stylisation — just naturalistic, sometimes brutal marital dialogue, in Swedish, over several hours.

More like this (8)
Phantom Thread2017
Paul Thomas Anderson's fashion-house romance is another study of a relationship built on ritual, control and quietly renegotiated power, told with the same unhurried, tactile elegance.
But It's a heterosexual power struggle centred on a man's genius, a very different emotional register from Strickland's tender, female-only world.

The Piano Teacher2001
Isabelle Huppert is devastating as a repressed music teacher whose desires curdle into something much darker, a colder, more punishing cousin to Cynthia and Evelyn's negotiated fantasy.
But Haneke offers none of Strickland's warmth or humour — this is bleak, and deliberately hard to sit with.

Portrait of a Lady on Fire2019
A slow-burning, exquisitely shot romance between two women in 18th-century France, built on looking, waiting and the ache of a love with an expiry date.
But There's no kink here, and its restraint is emotional rather than erotic — a quieter, sadder film altogether.

Blue Is the Warmest Color2013no page yet
An intense, years-spanning chronicle of a relationship between two women, unflinching about how desire and identity shift as intimacy deepens and habits set in.
But It's much longer and rawer, with extended sex scenes that drew real criticism for how they were shot.
In the Realm of the Senses1976no page yet
A landmark of explicit arthouse cinema, following a couple's affair as it escalates into obsession and cruelty — an unflinching ancestor to Strickland's stylised world.
But It's genuinely explicit and increasingly disturbing, with none of Duke of Burgundy's softness or wit to cushion it.
Carol2015
Todd Haynes' lush, period-perfect romance between two women shares Strickland's devotion to texture, colour and the unspoken rules governing who gets to want what.
But It's far more restrained and mainstream, with nothing of the kink or surrealism that makes Duke of Burgundy so strange.

Belladonna of Sadness1973
Where Strickland renders female desire through velvet and moths, this 1973 Japanese anime renders it through hallucinatory watercolour — the same interest in desire as something otherworldly and ritualised, in a wildly different medium.
A hallucinatory, watercolour-animated fever dream about a woman's sexual awakening and revenge, scored like a psychedelic fairy tale — genuinely nothing else looks like it.
But It's extremely explicit and surreal in ways that can feel exploitative rather than empowering, with pacing loose to the point of trance.

Microcosmos1996
Strickland's film is obsessed with lepidoptery — moths pinned, catalogued, studied — as a mirror for its human ritual; this documentary lingers in that same insect world, at ground level, for real.
A wordless nature documentary that turns insects — beetles, snails, moths — into an epic, tactile spectacle, all dew and light and impossibly close camerawork.
But There's no human story at all, and its patient, silent rhythm asks for a very different kind of attention.

People
Cast
Sidse Babett KnudsenCynthia
Chiara D'AnnaEvelyn
Eugenia CarusoDr. Fraxini- Zita KraszkóDr. Schuller
Monica SwinnLorna
Eszter TompaDr. Viridana
Fatma MohamedThe Carpenter
Kata BartschDr. Lurida- Gretchen MeddaughDr. in audience
Directing
- Peter StricklandDirector
- Judit SoltészFirst Assistant Director
- Carole SalisburyScript Supervisor
Writing
- Peter StricklandWriter
Production
- Katalin BaranyiCasting
- Shaheen BaigCasting
- Amy JumpExecutive Producer
- Anna HiggsExecutive Producer
- Ben WheatleyExecutive Producer
- Ildikó KeményExecutive Producer
- Lizzie FranckeExecutive Producer
- Gareth JonesLine Producer
- Katalin BaranyiLocation Manager
- Andrew StarkeProducer
- Mónika NagyProduction Manager
Recommended by
Phantom Thread, Ammonite, 365 Days, The Cook, the Thief, His Wife & Her Lover, Orlando, Fifty Shades of Grey, Belle de Jour, Secretary