DAISIES (1966) VĚRA CHYTILOVÁ

DAISIES (1966) VĚRA CHYTILOVÁ

Daisies (Sedmikrásky)

"This film is dedicated to all those whose sole source of indignation is a trampled-on trifle."

Today we're inspired by the Marie I and Marie II. Two of the brattiest, most self indulgent, characters to come to screen. We want to order everything, dance on tables and piss men off.

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Vera Chytilová is one of my favorite directors. She introduced me into Czech cinema with her jarring, imaginative work. Considering the Czechoslovak government banned Daisies, you know her film was a powerful force. Her avant-garde style was admired for not just visual experimentation, but also for exposing the moral problems of society with humor and wit. The Czech New Wave of filmmaking emerged right when Czechoslovakia needed it most- acting as a political stance against the socially conservative Communist government. It caught the public eye for only a moment before it was banned across the country, but Chytilová's Daisies, was caught right in the middle. With underlining political and feminist issues, it is a radical film that is just as empowering and rebelliously playful today as it was in 1966.

Daisies follows Marie I and Marie II, two outrageous young women who decide that if the world is spoiled, they should be too. It's a coming of age film that makes you forget there are rules and believe that nothing should be taken seriously. Whether they're stringing along rich, older men, speaking gibberish or having a food fight, they continue to act the opposite of how a "lady" should. No wonder this pissed off the government so badly. 

Just as comically as the Marie's are represented, the cinematography does the same. With scenes switching from certain color tones and visionary surrealism of floating heads, you'll be a bit confused but also entranced. Daisies feels so far beyond its time. Having been born in the early 90's, I felt the angsty riot grrrl movement throughout the whole film, intertwining femininity into the male angst of hardcore punk. 

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