One of art’s most iconic quotes comes on behalf of Salvador Dalí, who famously quipped “I don’t do drugs, I am drugs” when asked about the origins of his surrealist tendencies, and what inspired him to experiment with form in such an unprecedented manner. In many ways, the same principle could be applied to Věra Chytilová, whose landmark absurdist masterpiece Daisies (Czech: Sedmikrásky) persists as one of the most iconic works of the Czech New Wave, an incredibly influential piece of experimental cinema, and 75 minutes of pure, unhinged chaos that dovetails into one of the most gloriously deranged pieces of storytelling ever committed to film. This film is ultimately proof that when you give a camera to someone with the endless imagination of Chytilová and set her in the direction of the wider world, the result can be nothing short of a truly dazzling experience, a masterpiece that made statements about art and the human condition that it wasn’t even aware it was making at the time, but remain just as resonant (and deliriously funny) over half a century later, where the thrills that come from watching insanity distilled into a single work of unbridled artistic genius continue to resound with an abstract brilliance that very few filmmakers have been able to replicate. The rare kind of surrealist film that feels as if it was made through heartfelt giggles and mischievous pranks, rather than some metaphysical ramblings disguised as subversive commentary, Daisies is the kind of film that is difficult to believe exists – but there’s no greater joy in realizing that it does, and once the viewer is fully-immersed into this lovably playful mutiny on the senses, its singularly impossible to ignore.

Daisies, for lack of a better term, is completely void of a logical or coherent storyline in any way, lacking a single moment of lucidity – and for that reason alone, we can already proclaim this one of the true masterpieces of the Czech New Wave, a film movement that could convey chaotic playfulness like absolutely nothing else. The film is a story of two young women, played by Jitka Cerhová and Ivana Karbanová, who share the name “Marie” (although one of them is occasionally referred to as “Julie” by one of her suitors), who are of indeterminate relation, origin or even age – they live together in a colourful apartment, and spend their days roaming the streets of their town, engaging in elaborate lunches with a variety of older men, who are initially delighted to be in the presence of two beguiling young women, but eventually leave disgruntled, as this duo clearly have intentions other than pleasing anyone other than themselves. Weaving their way through the various local establishments, who are often less-than-pleased to have these charming rascals causing trouble amongst their higher-class of clientele who are often the victims of their bizarre activities, the two “daisies” find themselves seeing new sides of their surroundings, often venturing into a realm detached from reality, perhaps a reflection of their own frazzled minds. Told in a series of vignettes that vary in setting, intention and even visual appearance, the film looks into the various misadventures of these puzzling protagonists, who seem to be searching for something, even when it’s very clear that not even they know exactly what it could be – yet, it doesn’t stop them from spreading their unique brand of mischief wherever they go.

I’ve written previously about how many films produced during the height of the Czech New Wave can be considered thinly-veiled allusions to the intense socio-cultural and political tensions arising at the time, particularly after the invasion of the Soviet Union into what was then known as Czechoslovakia – humour was often used as a tool of both overcoming adversity and critiquing the social system. This is an interesting way to look at history and gain insights into the mindset of artists during this time – and its also a profoundly useless way to look at Daisies, which may be one of the few arthouse films that is intentionally without any deeper meaning, a fact that is entirely by design, and one of the reasons this can be considered such a landmark work of postmodernism. What is most striking about what Chytilová does here is she comments on various wrinkles of mid-century culture, without ever making much of a statement, intentionally avoiding anything that can be considered the folly of in-depth analysis – Daisies is immune to meaningful commentary since it aims to deliver exactly what it promises, mainly a series of chaotic moments that all converge into an even more bewildering climax, gently subverting the idea that a film needs to carry a particular message. Logically, there is certain aspects of Daisies that can be discussed – the two main characters are young women working through their identities, caught somewhere between adolescence and adulthood, and holding onto what’s left of their youth. They’re existing in a tumultuous time, grappling with the uncertainty that afflicted many during this period, which they channel into moments of unrestrained excitement, leading to large-scale mischief.

However, this is about as far as Daisies gets in terms of cultural commentary, as Chytilová deftly avoids infusing all that much into the film, opting to subvert expectations by taking this story in a completely different direction, one built from the fundamental basis of not making much sense, and priding itself in its nonsensical nature. Not many filmmakers could successfully execute such an audacious endeavour, and many would argue that it’s almost perilous to do so – yet Chytilová proves to be the embodiment of artistic rebellion, creating one of the first truly metamodern films, predating many of the defining works that would go on to be studied as pioneering moments in alternative fiction. The director, despite the bewilderingly bizarre nature of Daisies, puts together a truly impressive cinematic achievement, employing the contradictory concept of controlled chaos, as nothing this defiant of narrative normality could ever be this effective had it not been for a director fully in command of her craft. Visually stunning (some of the compositions in Daisies are amongst the best of the 1960s, so simple yet so incredibly gorgeous), and filled with colour, both in its creative elements and the story that it brings to life, Chytilová composes an unforgettable work that is brimming with a confidence rarely glimpsed from even the most seasoned artistic veterans. The director ease behind the camera is unquestionable, as if she hadn’t possessed the conviction to make something so wonderfully ridiculous, we might not have been the benefactors of one of the most inventive works of that particular era of cinema.

Anyone who claims that a complete original artwork doesn’t exist may change their mind after seeing what Chytilová does here, as there’s no shortage of inspired moments to be found throughout this absurdist masterpiece that is almost unwavering in its imagination. Its almost infuriating how brilliant Daisies is – to make something that appears so simple and effortless, but to imbue it with an artistic complexity that not even the most experienced storytellers are readily capable of, is simply an extraordinary achievement. Carefully crafted with the sincerity of a filmmaker that knew exactly what they wanted to convey, and more importantly had the abilities to realize this intimidating tale of the reckless naivete of youth, and the joyful disregard for social order that we all experience in our younger years, albeit momentarily. Certainly one of the most amusing films ever made, Chytilová compresses unbridled glee into this brief but memorable work that stands as one of the most joyfully outrageous pieces of comedy produced during an era in which humour wasn’t simply to entertain, but also to evoke discussion. Daisies deftly avoids overwrought commentary, opting for a far more simple (but no less impressive) story that harbours a lot of depth, even if it is primarily motivated by the value of irreverence rather than subversive social satire. It’s a thoroughly riveting, extraordinarily creative and truly unforgettable work of cinematic pandemonium.