A free-form experiment in a riot of different filmmaking techniques and genre semantics, Daisies is as much art film as it is movie. The wildly overlapping collage of different film stock, color grading and filtering, jarring jump cuts, discordant sound effects, skewed costumes and genre semantics (from comedy to drama to action) is unlike anything else in world cinema. Even more, it is a deliberately ambiguous film that resists simple interpretation. This is a sophisticated piece of filmmaking that is at the same time both ebullient and ruthlessly itself.
The basic story is a coming-of-age tale of two girls both named Marie who decide to become spoiled. This is only the beginning of their wild and sly journey that has them playing strange pranks on each other as well as on others in their patriarchal world. The slapstick antics are complemented by a brilliantly innovative and psychedelic visual design, sound design that exaggerates the clicks of their high heels, and a soundtrack full of discordant sounds that accentuate the characters’ skewed sense of self.
Despite the fact that Daisies is a bit of a mess to behold, there is no mistaking its importance in both Czech New Wave and women’s cinema (although Chytilova would later resent being labeled as a feminist filmmaker). It also marks a key moment in thinking through modernity that took into account both the local as well as the universal. The spiffy new Criterion edition is loaded with plenty of extras including both of the director’s earlier student shorts, A Bagful of Fleas and Ceiling, which help to establish many of the ideas that run through this film.