Tag Archives: lesbian

The Duke of Burgundy: Q&A about “the thinking person’s 50 Shades of Grey”

27 Feb
Duke of Burgundy

Sidse Babett Knudsen and director Peter Strickland at the Duke of Burgundy Q&A. Photo: Habie Schwarz

One of the most fascinating British films in some while is out now, and I caught a Q&A at the Curzon Soho with the director, Peter Strickland, and his leading lady, the fabulous Sidse Babett Knudsen of Borgen fame.

The Duke of Burgundy is most easily described as “the thinking person’s 50 Shades of Grey”, though any comparison with that film does The Duke of Burgundy a serious injustice. It’s beautifully shot, in saturated colours and at a leisurely, European pace, and though it is about an SM relationship between two women, there is no nudity, and the SM is figurative as well as literal: it’s about the shifts in power that occur in any relationship.

I won’t tell you any more about the plot, because it will spoil the film to know too much. But do go and see it (though perhaps not with your mother), as it’s a remarkable piece of work. No surprise, incidentally, to find Ben Wheatley on the Executive Producer credits. At the Q&A, the shy director was clutching a glass of whiskey and clearly roaring drunk, though still suprisingly coherent. The moderator said it’s the most Strickland has ever talked. The luminous Sidse Babett Knudsen was appropriately dressed for the occasion in fishnet stockings and burgundy-coloured velvet ankle boots. Here are the highlights:

Director Peter Strickland on the genesis of The Duke of Burgundy: “I met Andy Starke, the producer, who runs the DVD label Mondo Macabro with the wonderfully named Pete Tombs, when Pete wrote a book called Immoral Tales (on European sex and horror movies). We wanted to take some elements of Jess Franco films – female lovers, sado-masochism – but it ended up more as a domestic drama in the writing.

“It’s about SM on one level, but it could be any activity that one person finds distasteful, but that you go along with to keep the other person happy. It’s about the nature of compromise in a relationship.”

Duke of Burgundy 2

Mind games forever: Sidse Babett Knudsen and co-star Chiara D’Anna in The Duke of Burgundy

Sidse Babett Knudsen: “The SM element came to me a bit late. I read the script and thought there were so many recognisable things in it about ‘Will I lose myself, my dignity?’ As to the lesbianism, Peter said he didn’t want a man and a woman because then it would be about a power game between the sexes. I took everything as figurative, a way of exaggerating things in a relationship.

“Peter told me that at the beginning he wanted it to seem like porn, like just bad acting, and then after ten minutes the audience realises [what’s really going on]. That was the scariest thing about doing the film, that deliberately bad acting!”

Strickland: “There was one screening where the audience walked out in the first ten minutes, and you want to go ‘Come back! Come back! It all changes!’

“I wanted it to be this fantastical world where there are no men – there’s a strange power shift if you put men in there – and where these niche tastes are the norm. I wanted to normalise it [the SM and lesbianism] because when you normalise it you don’t question it. Also these films always have a bloody back-story – a crack-addict mum or something to explain why they are as they are – but I didn’t want to go into the psychology. I just wanted to look at the dynamics of that relationship, that push-and-pull, where one person wants something that the other doesn’t.”

On getting an 18 certificate, despite the absence of nudity: “It is what it is, it’s their decision. I do find it odd that you can show mutilation and violence to a 15-year-old kid, but not two mutually consenting adults pleasuring each other.”

On whether he would ever “sell out” by doing ads or taking the Hollywood dollar: “The reason I live and make films in Hungary is because I can’t afford anywhere else. But I’m home-sick for England; and I’m not going to live in a one-bedroom flat paying all the money I have to a landlord just to please you fuckers!”

We’ll take that as a “yes”, then.

Peter Strickland’s films, including The Duke of Burgundy, are available to watch online through Curzon Home Cinema.

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Cannes confessions #3: Troma Warriors in Festival Hell!

18 May

Yesterday morning in Cannes a gang made off with a million dollars of Chopard jewellery destined for the swan-like necks of the festival’s red-carpet stars. Later the same day, a lone gunman was arrested after firing blanks at Tarantino actor Christoph Waltz. My first thought, in both cases, was “I wonder what movies these stunts have been staged to promote?”

Maybe I’ve been hanging out in Tromaville too long.

I met up with Lloyd Kaufman, the legendary cult film-maker and founder of Troma, in the Marché du Film. Over nearly four decades, Troma has made hundreds of films bearing a distinctive brand of high-octane schlock, gross-out effects  and occasional gratuitous nudity, coupled with relatively high production values and often surprisingly witty scripts. Some titles to savour: A Nymphoid Barbarian in Dinosaur Hell; Alien Blood; Angel Negro; Attack of the Tromaggot; and, appropriately, All The Love You Cannes. And that’s just from the ‘A’s. Enjoy the full list here: http://www.troma.com/films/.

At 67, Kaufman shows no signs of slowing down. With a limited budget for marketing, he has long found inventive ways to generate heat. Hence the foundation this year of Troma’s “Occupy Cannes” movement, staging a different promotional stunt – sorry, piece of performance art – each day.

On Thursday they handed out flyers and stickers while a male streaker Tromatised the crowds on the Croisette. On Friday they attempted to stage a lesbian “wedding”, in honour of the tender love story at the heart of Kaufman’s latest oeuvre, Return to Nuke ‘Em High, but the event was shut down by the police.

Opinions vary as to why: Justin the publicist thinks it was revenge by the authorities for the streaker incident. Asta Paredes and Catherine Corcoran, the film’s young stars, say that it was the gay celebration that disturbed the authorities. “France has legalised gay marriage, but it doesn’t come into effect until the 26th, so they said they were in fear of riots. It’s ridiculous: yesterday we had a streaker and nothing happened, but two women displaying a public symbol of love was threatening.”

It’s refreshing, incidentally, that these girls are clearly both highly intelligent (Paredes previously wrote and directed her own short) rather than rent-a-babes. As to Kaufman, there is no doubting his drive and conviction. “You think I do this for the money? These films don’t make any money. Unless you make an underground movie for $150 million and cast Arnold Schwarzenegger, no one gives a fart for true art.”

He likes to smuggle social messages into the films, and behind the laughs, he is in deadly earnest. Kaufman made a promotional film for PETA called Sunny Acres Farms, in which naked humans are locked in tiny cages like chickens, injected with drugs and “humanely” slaughtered. Even Poultrygeist – Night of the Chicken Dead is, he says, about “the dangers of fast food”. The New York Times called it “about as perfect as a film predicated on the joys of projectile vomiting and explosive diarrhea can be”.

As Paredes puts it: “That’s the role of the jester, isn’t it? To make social commentary through humour?”

I’ll leave you with a final intriguing piece of Tromatrivia. I asked Kaufman if, like B-movie maestro Roger Corman, he had helped launch any A-list careers. “They call me the East Coast Roger Corman!” he said, before rattling off a string of names: the creators of South Park; Oliver Stone; Kevin Costner; Samuel L. Jackson; Fergie from the Black Eyed Peas (aged nine in Monster in the Closet).

And you may not have heard of James Gunn, whose first film was Tromeo and Juliet, but you will. He is currently directing the mega-budget Marvel/Disney movie Guardians of the Galaxy.

More on Troma in my International Business Times feature on Cannes promotion: click here.

Click here for the next thrilling episode of Cannes confessions, in glorious Picturerama!