Chytilová once remarked on Daisies as a ‘grotesque philosophical documentary’, and a ‘philosophical slapstick comedy’. These remarks only indicate the eccentricity and uniqueness of the film, which was made during the era of socialistic realism. Two girls, both named Maria, absorbed in thinking that world is ruined in every way, have decided to live in self-importance. The film exposes the girls’ sarcasm, greed and outrageous acts, only to show the realization of their destructive, self-alienating ends.
The eccentric and inexplicably humorous acts of two girls make it hard to enjoy as the film does not use the conventional forms of sympathetic protagonists nor a continuous narrative. Made during the Věra Chytilová formalism, Daisies is marked by witty images and anarchic humor via montage, stylish colors and decoration, cinematic extortion and tricks. The inventive and visually striking cinematography by Jaroslav Kucera, Chytilová husband, adds a provocative effect and fascination to this pessimistic innuendo.
Despite the difficulty in sorting it into any category, Daisies has often been interpreted as Chytilová critical mention on nihilism or existentialism and as a statement against materialism and consumerism in modern society. In truth, the film draws you in with subtlety and a compelling and thrilling fascination; Daisies is open to multiple interpretations that do not necessarily contradict each other but exist as parallel readings of a complex film. (Joo You-shin)