People are voting emotionally.

Fantastic!

One of the best movies of the year! Incredible from the beginning to the end.

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

Over the course of the playful and influential Czech New Wave, very few female filmmakers added to the constant cannon fire of creativity coming from Czech cinema at the time. However, Vera Chytilova, who was basically a totally lone voice in the trend of radical Czech New Wave films, remains one of the movements most notable and brilliant filmmakers, and her excellent experimental comedy 'Daisies' is among the two or three most iconic purely Czech New Wave films. On my second watching, various thing stuck out to me as being particularly fantastic. Firstly and foremostly, the movie is entertaining beyond belief and, despite being a film w/so slim a runtime, feels even shorter than the unfortunately brief 74 minutes in which it is in the viewer's company. I also loved the use of constantly changing color, much of the film is tinted, while the rest oft has very bright, eye popping cinematography. I also appreciate the totally anarchic and rebellious nature the film carelessly flaunts around w/humor and vigor. It's so intentionally offensive to the uptight, largely patriarchal, and authoritarian society of prudes the film satirizes w/a smile that I fell in love with practically every second of it. It's a picaresque rollicking feminist romp that is as sexy as it is surreal and as daring and dangerous as it is beautiful and brilliant.

An avant-garde think piece from the late Mrs. Vera Chytilová (1929-2014), a spearhead figure emerges from Czech New Wave in the 60s, and keeps working consistently and domestically until her late age, DAISIES is her second feature with an economic length of 76 minutes, perhaps still remains as her most well-known work in her filmography.A whimsical, outlandish and provocative escapade about two young girls, both named Marie, Marie I (Cerhová), is a black-haired, Bardot-ish seducer and Maire II (Karbanová) is a blonde gamine, devilishly chic. Introduced by a robotic conversation between them, they decide to conduct a decadent lifestyle since the world has sunk to corruption and debauchery.Under Chytilová's unorthodox enforcement of cinematic tricks, the shots are immensely hyperactive, montages-laden with unexpected color-variations, fluidity and image-composition, and the two girls' follies become ever-enchanting, as audience's attention jumps from one scenario to another, they indulge in fine food and let some wealthy man-about-towns pay the bill, then swindle them to board the train on the pretence of going away with them before backtracking in the last minute (it works both ways, they leave with the train while the patron unfortunately misses the train). Occasionally, they snitch money and disturb a pas de deux in a club, revel in their own frolic bravado before being dragging out by the guard.When they are alone in their apartment, food and playfulness continues to running rampant, young suitors' romantic courtships cannot compete with a luxurious milk bath garnished with some raw eggs. A fantastic sleight of hand stuns when they shear each other to smithereens then the fragments being re-arranged into a knowingly comical presence like a misplaced puzzle. Their insatiable gluttony will reach the zenith in the sumptuous episode, where they single-handedly wreak havoc on a lavish banquet, an unapologetic manifesto to ram home epicurism to its dumbfounded spectators.In the coda, the two girls are granted a second chance to redeem their wanton acts, but Chytilová will not risk anything to foil her mischievously nonconformist endeavour. In one word, DAISIES' enduring allure lies in its radical Dadaism style and Chytilová's full liberation of her whimsy and artisan-ship. A fine piece of art can evince a wonderful change from the offerings of cinema's conventional product line, as it manifests in the end, the film is dedicated to those whose spiritual life has descended into completely chaos.

The life of two girls, Marie I and Marie II, who try to understand the meaning of the world and of their life. Through the power of film, this just might be accomplished.This film is brilliant. Weird, odd, quirky, eccentric... call it what you will, but there is a brilliance here that combines dadaism and existentialism, puts it on film, and it all looks amazing.So many different styles are shown here that it is a small tragedy that this film has never been known in America. Over 40 years later and I only heard of it because of a British documentary. We really need to get more people watching it.

I worry about being the lone voice of dissent in regard to this film. It makes me think I might be wrong, especially since people whose opinions I respect enjoy this film. I think it's garbage.The film follows two Maries as they embark on their route to badness. What they do, though, isn't particularly malevolent or, I'd say, bad. They string men along, more or less, behave outrageously/obnoxiously at bourgeois entertainment, and use scissors frequently. There are some not so subtle nods to castration here and there and some not so subtle undermining of traditional feminine ideals.I fear that summary makes the film sound somehow worthwhile. The fact is that the movie brings nothing new to these topics and, really, barely scratches the surface of being a woman in the Soviet bloc. The filmmaker is, ultimately, more concerned with the superficial "pleasures" of psychedelic film making (lots of colors and odd noises) than the plight of women during the Communist era. And the psychedelic style seems to be the end unto itself. Not that Vera Chytilova got that right either. The film seems more like a high school stoner art project than anything else.Symbiopsychotaxiplasm: Take One does a much better job of exploring psychedelia and a much better job of creating the anarchic joy Daisies aims for. It seems like the director was shooting for Bunuel and wound up with, oh I dunno, a Jefferson Airplane album.The Czech New Wave, a grossly overpraised movement in terms of film quality, is besmirched by this movie, with its inane pretensions and obnoxious tedium. It looks bad (the framing is, um, nonexistent; it's as if the director never learned to compose an interesting shot) and it does a grave disservice to politically-charged film making.