baise - moi
filmfixx plans to release “baise - moi” in june in new york and los angeles .
500 great books b... : baise - moi - virginie despentes - ben winch
baise moi sessions recorded 2002 on 4 track cassetterecorder. baise moi pt. 2 recorded 2005 on pc. later re - recorded for spray for jesus cd. recorded at the ass studio eindhoven the netherlands .
edgy, disturbing baise - moi earns the right to be seriously discussed in the adult movie censorship debate .
looking for movie tickets? enter your location to see which movie theaters are playing baise moi near you .
we’d love your help. let us know what’s wrong with this preview of baise - moi by virginie despentes .
heavy on the sex and violence, baise moi is not so much a daring as a sloppy piece of work .
and rips the print of baise - moi off the projector and walks away with it, damaging the projector and the platter .
as with all
controversial
movies, the new french feature baise - moi is both worse and better than the hype .
baise - moi feels so resoundingly stunning since we' re so used to getting our feminine empowerment in movies fed to us in compartmentalized bits .
controversial french movie baise - moi, which is banned from screening in its entirety in australia, is set to screen on the world movies channel .
trailer of the french movie
baise - moi
of virginie despentes et coralie trinh thi (2000), with karen lancaume and raffaëla anderson .
baise moi / avis aux parents - textes explicites - collection poche revolver. by despentes virginie: florent - massot 9782908382167 couverture souple - le - livre
baise moi is so busy showing us penises, vaginas, breasts, penetration, rape, murder and on and on that it forgets to make its points .
one is a timeless classic, the other a soft - porn film about murderous women. but bacchai and baise - moi are strangely similar, argues anthony julius
but that' s where baise - moi is firmly stuck. it' s another film which replaces plot with a shopping list of explicit sex and gratuitous violence .
this is not a plotted thriller with adult movie touches, like basic instinct. most viewers will feel that baise - moi is more: basically, it stinks .
coarse, rough - hewn and rather unsophisticated, cinematically speaking, baise moi nonetheless succeeds largely on its gritty realism. it' s a cinematic jab to the solar plexis .
baise - moi is like a cheapie, vintage american exploitation movie, only one that goes so far beyond the bounds of taste that its affrontiveness becomes in large part what the film is about .
australian censors have today decided to ban the controversial french film baise - moi, even though the film was initially passed by the same censors and has been showing in the country since april 24 .
disciplining deviant women: the critical reception of baise - moi [ 1 ]
by forrest, amy e. - gender forum, issue 46, july 1, 2013 | online research library: questia
baise - moi is one of the most controversial french novels of recent years, a punk fantasy that takes female rage to its outer limits. now the basis for a hit underground film which was banned in france, baise - moi is a searing story of two women on a rampage that is part thelma and louise, part viking conquest. manu and nadine have had all they can take. manu has been brutal
baise - moi is excessive, unrealistic, unpolished, clumsy, trashy and ugly, but its violent fantasy of female power has an uncompromising rawness, gutsy courage and angry energy that command attention – even respect .
the society president, mike petrus, contends that “three important questions of law [ set out below ] that are of significant interest to a substantial section of the public, will be dealt with in the current appeal involving “baise - moi” .
it would be impossible to discuss baise - moi without mentioning abel ferrara. baise - moi is the kind of film that ferrara would have made during the ’70s, when times square was something more than a disney theme park. baise - moi is an audacious piece of feminist empowerment, a dogma - style experiment that mixes in russ meyer playfulness with dramatic elements from numerous popular films, from thelma & louise to natural born killers. it’s polemical but completely unpretentious, unlike, say, catherine breillat’s romance and leos carax’s pola x. baise - moi may appeal to extremists but this feminist howl is more necessary than ever because of the conservative retrenchment we’re experiencing in this country. the film is less polished than ferrara’s ms. 45 but if zoë lund ever aimed her gun lower and, say, into a man’s ass, baise - moi would be the result. directors coralie trinh tri and virginie despentes tell the story of a rape victim who goes on a countrywide killing spree with a female companion she randomly meets on the street. there isn’t much of a plot but the attention to detail, however subconscious, is remarkable. while she’s being raped, nadine (karen lancaume) refuses to allow her rapist to see her squirm, evoking her reactionary spirit. far more fascinating is the fact that the man stops raping her because of her act of retaliation. baise - moi has been called irresponsible when it champions self - respect and moral responsibility. save for the curious deaths of nadine’s best male friend and a woman on the street, every man in the film is murdered because of his bad behavior. viciously hellbent on avenging female scars, baise - moi likens guns to female tools of empowerment, not unlike what men have between their legs. even when baise - moi is seemingly undermined by thelma & louise - style self - defeatism, the film ends on a hauntingly ironic note. evocative, cocky and downright riveting, baise - moi is exploitative ’til the every end. the directors strip one of their main characters of her final emotional release and suggest that a female’s ownership of her body is an ongoing, elusive struggle .
perhaps unsurprisingly, baise - moi indeed caused a huge controversy on its release in france and abroad (it is still banned in australia), and even the filmmakers were not quite prepared for the level of aggression and hostility they provoked. after a complaint by right - wing religious group promouvoir, baise - moi was banned by the french government. this was replaced shortly after with an 18 certificate following a petition organised by another female agitator of french cinema, catherine breillat .
filmfixx’s orly ravid, formerly head of acquisitions at picture this! entertainment, has been tracking “baise - moi” since it caused a stir at last fall’s toronto intl. film festival. remstar acquired north american rights to the film last october .
virginie despentes is a french writer, novelist and filmmaker, born in nancy, meurthe - et - moselle. her most famous novel, and film of the same name is baise - moi, a contemporary example of the exploitation films genre known as rape and revenge films. her most recent biographical, non - fiction work, king kong theory has also been translated into english, and recounts her experiences working within the french sex industry, and attendant infamy and praise associated with the aforementioned baise - moi .
baise - moi soon moves into very non - erotic territory, one which maybe only psychology students will appreciate. you have to wonder whether directors virginie despentes (also the writer) and coralie trinh thi are trying to ruin viewers' carefree approach to adult movies .
baise - moi, c' est le roman d' une génération, c' est le malaise d une société. derrière toute la violence contenue dans ces lignes, il y a une certaine légèreté poétique, propre à v. despentes. tous les coeurs sont atteints .
the film censor, mr sheamus smith, has prohibited the video and dvd release of the violent, sexually - explicit french film, baise - moi. the film' s distributors subsequently submitted the film to the film appeals board, which upheld the censor' s decision .
baise - moi rating: r. starring: raffaela anderson, karen bach. critic' s warning: where do we start? relentlessly confronting sex, violence and language. believe that special warning sign on the cinema door. critic' s rating: 3 out of 10 .
the society, opposed to the release of the uncut version of “baise - moi” to film festival audiences, has respectfully adopted the conclusion of the classification office (oflc) which described the “dominant effect of the publication as a whole” under s. 3 (4) (a) as follows :
but world movies channel has slated an r18 + edited version as part of its week of “films that shocked the world. ” baise - moi will screen alongside the human centipede (2009), kids (1995), cannibal holocaus t (1980) and deep throa t (1972) .
obviously all three kinds of film are providing payoffs by the clock. would'' brother'' be as depressing as'' baise moi'' if all the victims had sex before they were gunned down? i don' t know, but i' m sure'' baise moi'' would be perfectly acceptable if the women simply killed men, and no sex was involved. at some level it seems so... cruel... to shoot a man at his moment of success. a case can be made that'' baise moi'' wants to attack sexism in the movies at the same time it raises the stakes. i' m not interested in making that argument. manu and nadine are man haters and clinically insane, and not every man is to blame for their unhappiness - - no, not even if he sleeps with them .
writing this review is a leap of faith in society. baise - moi (generally translated as “fuck me”) is a controversial french film made in 2000. i would only suggest it to those not faint of heart in the viewing extreme of obscenity and to all of my friends that understand my personality .
baise - moi is one of the most controversial french novels of recent years, a punk fantasy that takes female rage to its outer limits. now the basis for a hit underground film which was banned in france, baise - moi is a searing story of two women on a rampage that is part thelma and louise, part viking conquest. manu and nadine have had all they can take. manu has been brutally raped, and determines it' s not worth leaving anything precious lying vulnerable - - including her very self. she teams up with nadine, a nihilist who watches pornography incessantly, and they enact their own version of les vols et les viols (rape and pillage) - - they lure men sexually, use them up, then rob and kill them. drawing from the spiky cadences of the sex pistols and the murderous eroticism of georges bataille or dennis cooper, baise - moi is a shocking, accomplished, and truly unforgettable novel .
so is baise - moi a women' s film? since women found such mainstream movies as ridley scott' s thelma & louise (1991) exhilarating exercises in wish - fulfilment, surely baise - moi has equal potential as fantasy fodder? like when a guy on the street propositions nadine with the charming line' wanna feel my balls slapping your ass?' only to be executed without a moment' s hesitation by her best mate. this seems not a million miles from louise' s trigger - happy revenge of thelma' s near - rape or the moment when the pair blow up the lecherous truck driver' s tanker .
baise - moi does have more of a structured plot than your average
erotic
adult movie; it' s certainly aiming for harsher drama. cynics will dismiss the plot as thelma and louise - the porno years. but this subtitled story of two women an enraged rape victim and a brooding prostitute hits many raw notes .
baise - moi was not submitted to the film censor for cinema release in ireland. instead, it was released in dublin last summer on a club basis at the irish film centre, where admission to films without a censor' s certificate is restricted to members and their guests. all members have to be over 18 years of age .
financed and sold internationally though le studio canal plus’ wild bunch division, “baise - moi” stars two vets of france’s adult film world, raffaela anderson and karen bach. story centers on a violent rape and the after - affects on the rape victim and her friend, whose subsequent random acts of violence draw the attention of the media and the police .
baise - moi had its roots in a 1994 novel written by virginie despentes, who had worked in prostitution, peep shows and pornographic magazines. it was written in four weeks, or as ms despentes put it ,
vomited in a spirit of hate
, and she describes its principal characters as
thelma and louise' s wicked younger sisters
.
as it happens, i saw a japanese - american co - production named'' brother'' not long after seeing'' baise moi.'' it was written and directed by takeshi kitano, who starred under his acting name, beat takeshi. kitano under any name is the japanese master of lean, violent, heartless action pictures, and in this one, the plot is punctuated every five minutes or so by a bloodbath in which enemies are shot dead. many, many enemies. we' re talking dozens. the killings are separated in'' brother'' by about the same length of time as those in'' baise moi,'' or the sex acts in a porno film .
sex and shooting assault the senses in baise - moi [ literally kiss me ], a bloody buddy movie that' s like thelma and louise on acid. banned on release in france, the film has provoked as much horror as it has debate. manu, a part time porn star, and nadine, a hooker, set out to leave their town for paris after witnessing and being subject to rape and violence. they rage against societal expectations in a fury of robbery, orgiastic lust and murder. one of the most controversial movies of the last 20 years, baise - moi was described as the most sexually explicit film to ever reach british screens by the uk press, the film offers the complacent viewer a cinematic slap in the face .
new york — montreal - based remstar distribution will partner with santa monica - based filmfixx on the u. s. release of “baise - moi” (“rape me”), the controversial french pic penned and directed by virginie despentes and coralie trin - thi. pic makes its u. s. preem friday at the castro theatre as part of the 44th san francisco intl. film festival .
despentes wrote the award - winning, bestselling novel “baise - moi” upon which the film is based. she also penned the screenplay and co - directed the film. under pressure from conservative groups, pic was banned by french censors from distribution in gaul. following appeals by the filmmakers, the film was booked in french sex cinemas and caused something of a sensation in the homevideo market .
when her debut novel baise - moi was published in 1993, virginie despentes was hailed as the pioneer of a new genre of feminist literature. the boldness of the novel' s plot, its angry depiction of female sexual pleasure and gratuitous violence, and its explicit criticism of contemporary western society have earned this ambiguous work a reputation for subversion. this article argues that the novel' s apparent subversiveness and its popular success are the result of despentes' s parodic reworking of the conventions of the noir thriller, and in particular of her critical revisiting of the topos of the femme fatale. reappropriating and challenging traditional canons and representations, baise - moi attacks phallocentrism through the exploration of female pleasure and the intervention of the female body. the text thus becomes highly disturbing and critical of the structures that contain women' s autonomy. it also explores ideas that remain central to contemporary feminism with regard to women' s sexual identity; remaining taboos about the body; the relationship between women and the sexual industry, and sexual oppression. helping to release women' s bodies from existing representations and to question categories, baise - moi might indeed reclaim a voice for women .
the society contends that because the board in its second classification deemed the video and dvd formats of “baise - moi” “objectionable” under s. 3 of the act, based on certain content matter and its potential for causing injury to the “public good” if made available to adults in homes; then in line with s. 26 of the act, any theatrical performance of the identical content should have received the same classification .
new york — montreal - based remstar distribution will partner with santa monica - based filmfixx on the u. s. release of “baise - moi” (“rape me”), the controversial french pic penned and directed by virginie despentes and coralie trin - thi. pic makes its u. s. preem friday at the castro theatre as part of the 44th san francisco intl. film festival. filmfixx plans [ … ]
4 films are a highly accessible visual medium and are products of specific social, cultural, political, and economic contexts. they play a role in the reflection on, and validation or contestation of, socio - cultural norms and expectations. the polemic critical reception of baise - moi indicates the extent to which dominant contemporary occidental attitudes are still quite conservative and relatively untouched by radical feminist and anarcha - feminist ideas .
virginie despentes is a french writer, novelist and filmmaker, born in nancy, meurthe - et - moselle. her most famous novel, and film of the same name is baise - moi, a contemporary example of the exploitation films genre known as rape and revenge films. her most recent biographical, non - fiction work, king kong theory has also been translated into english, and recounts her experiences working within the
crucially, baise - moi itself is actually rather fun, and refreshingly innocent in its cinematic strategies (digital video without the dogme hype; shaky but promising performances from two leads who hail from hardcore). if it' s sensationally confused, it' s also energetically driven. nevertheless the questions it provokes, especially for british audiences, censors and promoters, are as familiar as the genre motifs it devours and regurgitates .
baise - moi (france, 2000) 9. 30pm friday 23 august receiving intense media coverage for its graphic depiction of sex and violence, this film tells the story of two women who embark on a road trip of revenge through france. its banning in australia was met with outspoken protests against censorship, while it was cut - down or banned completely in many other countries. world movies presents an r18 + cut of this controversial film .
2 released on 28 june 2000 and based on the novel by the same name published by despentes in 1994, baise - moi portrays the story of manu (raffaëla anderson), an occasional porn actor, and nadine (karen bach), an occasional prostitute, as they separately experience traumatic events which drive them to murder. they chance upon one another and embark on a sexually charged killing spree across france until they meet their equally separate fates .
“we talked to a number of individuals and companies about helping us to release ‘baise - moi’ in the states, ” said remstar exec director craig adlard, “and orly’s voice was consistently the most passionate and articulate about how to approach the audience for the film. she not only sees great commercial value in the controversy, but an important opportunity to spark debate about the fine lines that seem to separate art, exploitation, satire, pornography and feminism. ”
bacchai proves her wrong. what despentes gives us is a work utterly dependent on literary and theatric precedent, something that bacchai confirms in its parallel action. in one respect at least, the two works mine the same literary seam: a fascination with what women are capable of when freed from constraint. we must entertain the bleak possibility, remarks philosopher bernard williams, that euripides was both feminist and misogynist. the makers of baise - moi too, i suggest .
i disagree with the other review. i thought the film, made by virginie despentes, was horrible and tacky, she got rid of the best part of the books and added idiotic scenes. baise moi the novel has an emergency, a hatred of the world that is unique and poisonous. it quotes hole and lots of brilliant hardcore and grunge band (while the film had an awful bad french proto punk soundtrack). it' s like reading a trashy james ellroy. i very recommend it .
'' baise moi'' is (a) a violent and pornographic film from france about two women, one a rape victim, the other a prostitute, who prowl the countryside murdering men. or'' baise moi'' is (b) an attempt to subvert sexism in the movies by turning the tables and allowing the women to do more or less what men have been doing for years - - while making a direct connection between sex and guns, rather than the sublimated connection in most violent movies. i pose the question because i do not know the answer. certainly most ordinary moviegoers will despise this movie - - or would, if they went to see it, which is unlikely. it alternates between graphic, explicit sex scenes and murder scenes of brutal cruelty. you recoil from what' s on the screen. later, you ask what the filmmakers had in mind. they are french, and so we know some kind of ideology and rationalization must lurk beneath the blood and semen .
uripides' s bacchai, a play about women killing men, has opened at the national theatre just as baise - moi, a film about women killing men, is being screened in a number of cinemas. it is purely coincidental that peter hall' s production and virginie despentes and coralie trinh thi' s movie have arrived at the same time. but through this coincidence, we are able to negotiate the confrontation of a masterwork of the western canon with a work whose authors rejoice in its anti - literary properties .
some of baise - moi ‘s scenes are overlong and lack dramatic punch, a criticism that can also, of course, be leveled at life, as dogme - ites and their followers would no doubt remind us. and the film plays a risky game with the audience in alternating hardcore sex scenes with violence. it’s hard not to feel voyeuristic, even complicit in what transpires onscreen. but this is undoubtedly the directors’ intent, and the film’s ability to foster this sense of complicity in the viewer makes it a disturbing but worthwhile ride .
baise - moi is a violent, sexually explicit novel containing so much rage that it is almost unbearable. i almost feel a little guilty for enjoying it so much, but i can’t help myself. the novel centers around two young female characters: manu and nadine. manu is a young woman who seems detached from life. she drinks far too much, does drugs, and even makes adult films on occasion to fund her drinking and drug abuse. she puts no value in herself, her body, or anything else. after being horrifically
the fantasy of women who turn on that wacky institution the patriarchy is an enduring one, but inevitably later examples have mostly been coopted a la thelma and louise, which drained much of the power of the image of women out of control with its glamorous stars, plush production, and cop - out ending. virginie despentes and coralie trinh thi returns some trashy integrity to the genre with baise - moi, a hardcore french art film that was banned in, of all places, france. whether it’s got more trash than integrity is up to the viewer .
avec le club de lecture du groupe francophonie, j' ai commencé ce 28 / 07 / 2016 un challenge abc (w) avec des auteurs féminins. 1er livre, baise moi, un livre favori de mon père. j' ai vraiment détesté la première partie, je me demandais si un jour une histoire arriverait. la deuxième partie est plus intéressante: la rencontre entre manu et nadine, leurs
aventures
. malheureusement, c' est trop vulgaire, trop violent. je n' ai pas vraiment apprécié. la fin est à moitié surprenante et à moitié attendue
with two ex - porn actresses as the leads and unsimulated sex scenes, despentes and trinh thi aimed to make baise - moi real and visceral. shot on dv, with no additional lighting and a tiny budget, the film (just like the source novel) was inspired by french punk music (seven hate, virago and x syndicate feature on the soundtrack). these low - production values mean that, aside from a couple of red - tinged scenes, it looks dismally ugly – but if it had looked prettier, it may well have been a more objectionable film .
in his reserved decision on the society’s appeal to the high court, dated 23 july 2002 (ap76 / 02), the hon justice hammond referred the matter back to the board for reconsideration after he determined that its classification decision contained a legal error “in failing to have regard to the impact of the various medium of formats in which this film might be presented” (including video, dvd and television). he also ruled that the board may need to consider imposing conditions under s27 (5) on the display of baise - moi and would need to do so in other mediums .
i first read baise - moi (
rape me
in a title is rejected by virginie despentes, and most translators translate it as
fuck me
or
lay me down
) when i was fairly young, maybe somewhere around 14, which really made me miss the deeper meaning of this work. it did not take long for me to see the film version (directed by virginie despentes and coralie trinh thi) too, and i must say i still prefer it over the book mainly due to it being able to capture the violence and accelerating, but somehow emp
“baise - moi” (literally translated “f # # k me”) was submitted in video format for classification on 20 march 2001 by the secretary of internal affairs, as directed by the chief censor, under s13 (1) (b) of the act. metropolis films ltd, based in auckland, whose managing director is gordon adam, is the new zealand distributor of this film and did not submit the publication to the film and video labelling body for classification. this is required by law if the distributor intends to supply the film to the public or make it available for public display .
the film has been criticised for its perceived hatred of men and arbitrary violence, but manu and nadine’s first victim is a woman, and in the book they also kill a child, a scene the filmmakers chose not to include for practical and moral reasons (which they intelligently explain in the insightful documentary included in the extras). true, most of manu and nadine’s victims are men, and most of the murders are associated with sex, but the reaction to baise - moi seems entirely disproportionate given the number of films in which men subject women to horrendous violence, sexual and otherwise .
dizzying, depressing, and decadent. is there a word to describe all three of these things? do i make a word out of the author' s name? despentary? i think that' s my word for it. baise - moi is all about violence, particularly of the sexual variety. the added element of sex is what, from the perspective of many, makes it worthy of being responded to with death. this book, in a sense, tackles this concept in a way that, to a certain degree, is borderline fantastical. i didn' t necessarily mind that at
bacchai and baise - moi leave their audiences feeling troubled and somewhat repelled. while the film is more continuously upsetting (i found it practically unwatchable), the play' s last minutes deliver a horror unmatched in the theatre. there is an implication in each that women, when freed of conventional restraints, are capable of exhilaratingly terrible deeds. revenge serves in both as an ambiguous half - motive to justify murder: in one, the women are agents of another' s revenge; in the other, unrelated persons comprise the majority of the victims. what is more, in play and film, the killing exceeds all proportion .
baise - moi
( rape me), is billed as shocking and exhilarating however, i found it to be neither. virginie despentes' writing style (perhaps due to being translated) holds no shocks or punches. this novel is decently paced if at times it seems to be reaching for the shock value. at times the main characters, nadine and manu come off as caricatures of bad girl archetypes that are neither inventive nor are they new. i hope (and to give credit to despentes) that when read in the original language the book retains more of a literary punch. overall i was unimpressed with both the book and the hype .
avec le club de lecture du groupe francophonie, j' ai commencé ce 28 / 07 / 2016 un challenge abc (w) avec des auteurs féminins. 1er livre, baise moi, un livre favori de mon père. j' ai vraiment détesté la première partie, je me demandais si un jour une histoire arriverait. la deuxième partie est plus intéressante: la rencontre entre manu et nadine, leurs
aventures
. malheureusement, c' est trop vulgaire, trop violent. je n' ai pas vraiment apprécié. la fin est à moitié surprenante et à moitié attendue. bilan mitigé, mais j’essaierai tout de même d' autres livres de cette auteure .
prior to the successful substantive high court hearing on 12 june 2002, justice hammond had granted an interim restriction order on 12 april 2002 with respect to the film, pursuant to s. 67 of the act, following an application by the society. (this prevented the seven scheduled screenings of “baise - moi” going ahead at the 2002 beck’s incredible film festival which ran in auckland and wellington). the heart of justice hammond’s ruling was that there was an “arguable case” that the board erred in law by first finding the film objectionable, and then widening the public access to it. “the ‘disjunction’ between the acknowledged injurious effects of the film and the remedy is very striking”, he wrote .
ome films are made to just be provocative. add some sex sequences and some violence and you get a wave of anger and insult in response of what the director wanted to point out. baise moi is a masterpiece which should be seen by consentant adults ready to face reality and who want to live open minded. yes this film is x rated for adults only but it is not pornographic! !! it is just to tough for young audiences. baise moi belongs to these feature - realism category where you find cassavetes, godard and others. you get in touch with the truth of what these people live, breath and feel. it tells the story (which could be real !) of two women in a world where being a women souds like hell. what about feeling compassion for serial killers? what about understanding how a human being could turn himself into a monster? what would our life mean if it doesn' t worth anything to anybody? this film shows you what you are not ready to watch and hear. this film connects you with these people frightenning us everyday and against who we protect ourselves without hearing the sound of their sufferings. it' s tough, brutal, rough and so true! rape yourself and learn! i want to thank the two directors and the actresses. they are more than gifted and deserve a great future !
baise - moi is a violent, sexually explicit novel containing so much rage that it is almost unbearable. i almost feel a little guilty for enjoying it so much, but i can’t help myself. the novel centers around two young female characters: manu and nadine. manu is a young woman who seems detached from life. she drinks far too much, does drugs, and even makes adult films on occasion to fund her drinking and drug abuse. she puts no value in herself, her body, or anything else. after being horrifically gang - raped one day, she meets and teams up with nadine, a prostitute who is addicted to adult films and loud music. they go on a vicious, brutal murder spree where they take what they want, including lives, sex, and money, and offer no apologies. they seek to find the ultimate freedom. one would think it would be difficult to find anything redeeming or likeable in a novel like baise - moi, but i found it impossible to put down. it was so unashamed with its sexuality and violence that it was almost liberating to read. the actions of the characters are despicable and disgusting, but it’s not impossible to understand the source of their rage and even pity them in some small way. the novel is written in an unemotional style. you get the violence and gore without pages of inner monologue or inner exploration of the characters themselves. the writing style added a lot to the gritty feel of the story. when you strip away the aggression, you are really left with two vulnerable characters that feel alone and think they have nothing to lose because there is no hope for anything better in life. the core of the story is really quite sad. baise - moi isn’t a novel that everyone will understand or appreciate, but it can’t really be explained either. i recommend reading it and coming to your own conclusion. on a side note, if you enjoyed the novel you might like the film by the same name. it’s just as disturbing, but it’s interesting .
one of the lesser pleasures of the porno - trainspotter is listing those wonderful titles the industry comes up with for its hardcore parodies of mainstream movies. my favourites include shaving ryan' s privates, the sperminator, forrest hump and saturday night beaver. one would have thought, then, that a film that' s basically thelma & louise get laid could have invented a wittier moniker than the bald challenge baise - moi (translated as fuck me or kiss me, though one of its titles is rape me). forget sex - and - shopping as the epitome of female pleasure and the prime currency of women' s fiction; here fucking - and - shooting is what women want .
an equally controversial new american movie named'' bully'' is also about stupid, senseless murder, but it has the wit to know what it thinks about its characters.'' baise moi'' is more of a bluff. the directors know their film is so extreme that most will be repelled, but some will devise intellectual defenses and interpretations for it, saving them the trouble of making it clear what they want to say. i can' t buy it. ernest hemingway, who was no doubt a sexist pig, said it is moral if you feel good after it, and immoral if you feel bad after it. manu and nadine do not feel bad, and that is immoral .
baise - moi is the second example of the recent french graphic rape wave of cinema. like a skanky french natural born killers but without the talent, irony or indeed entertainment, the heavy - handed symbolism and maddening acting should have you turning off after the first 40 minutes. you continue to watch however, mainly though a fascination as to how far the director is willing to push the boundaries of good taste in order to convince us of his point. something to do with society raping people and by - products of the system, a reflection of the perversity at the root of civilisation, monkeys with guns and girl power. joining the sensational release of irreversible, with its centrepiece a nine minute rape scene, it could look to some that modern french cinema had found itself in a quandary, desperately seeking its next big theme in the rapidly thinning file of the last taboos. thankfully, l' homme du train dispelled those fears, at least for now. and maybe just two films don' t make a wave, perhaps just a ripple. however, nothing changes the fact that when the closing credits finally arrived, i was angry. because it was rubbish. not a patch on the glory of la haine which dealt with a similar rage, but with far more heart and intelligence. baise - moi also has the worst soundtrack ever. i' ve got to stop wasting my life watching all these terrible films .
issue 1: they' re really doing it. no surprises here - anderson and bach, along with co - director coralie trinh thi, are hardcore veterans branching out into more narrative - led drama. after the real - sex performances central to such arthouse fodder as ai no corrida (1976), the idiots (1998) and romance (1999), we should no longer find this so remarkable. the true breakthrough will come (as john waters famously said) when the first a - list hollywood star does a real hardcore scene complete with shots of erections, oral sex and penetration. one assumes hollywood isn' t quite ready for a studio version of baise - moi starring julia roberts and cameron diaz .
last year the society successfully appealed in the high court under s. 58 of the act, the board’s first classification decision on “baise - moi” dated 13 march 2002. the board’s decision had downgraded the classification from that issued by the classification office (oflc) on 20 august 2001. the board, following an appeal by the society dated 29 october 2001 against the oflc decision, under s. 47 of the act, classified the film under s. 55 as a r18 for theatrical release (with no additional restrictions other than the age restriction). this meant that identical copies of the film on video and dvd formats could lawfully be supplied to the public (via retail sales, rental or loan) for home viewing .
none of this justifies violent representations on the grounds that they are cinematic rather than realistic, but it does at least show that baise - moi knows what game it' s playing. shock is its objective and sensationalism its medium. many a horror film has striven to up the ante in the gross extremes it can bring to the screen; that this is neither a horror film nor a porn film may be part of the problem. shooting a man on all fours through his rectum so the blood splatters out of his mouth is no more gross than many a death in a horror movie. what' s unusual is the conjunction of real sex and unreal violence, the confusion of authenticated pornographic fantasy and simulated violent spectacle .
in the end, it humanized nadine and manu; two murderous bad ass bitches. it expresses the idea that friendship knows no circumstances. humans are going to commune with other humans no matter where you go. it places you in their shoes so much better than other movies try to do. you’ve got to think sometimes that these people are real; they exist in our world. actually, they exist in our underworld. this movie brought those parts of society to light and made me wonder how probably too much of it is really going on. there was some as much extreme emotion as graphic value throughout the film. baise - moi had me gripping the edge of the seat, in the moment, throughout the entire movie. 8 out of 10 .
dizzying, depressing, and decadent. is there a word to describe all three of these things? do i make a word out of the author' s name? despentary? i think that' s my word for it. baise - moi is all about violence, particularly of the sexual variety. the added element of sex is what, from the perspective of many, makes it worthy of being responded to with death. this book, in a sense, tackles this concept in a way that, to a certain degree, is borderline fantastical. i didn' t necessarily mind that attitude because the material, here, was unflinching. this book doesn' t necessarily place you in the head of the perpetrators of the violence, however. instead, it places you close to the action itself. the reader becomes something of a exhibitionist to the pornographic madness that lines in the prose of this curiously cruel, and rather vulgar, novel. similarly to many of the well - known french literary shockers who forced the readers to confront the sexual actions that we deemed taboo, we have virginie despentes, who decides to make pornography out of violent retaliation and revenge. the effect is a mixed bag. grisly at times for certain. sometimes overwhelming in its alarming description. the average reader likely will not be able to finish baise - moi fast enough, for it is bitter and putrid to the very last page. i' m personally very glad that i still have yet to reach the bottom of the elevator of french extremities in art .
the society is still waiting for the decision of the hon. justice goddard with respect to its other high court appeal (civ 2003 - 485 - 238) against the board’s classification decision on the japanese sex violence film “visitor q”. the board cleared the film for film festival screenings and noted that it had a lengthy feature involving necrophilia (“sexual conduct with or upon the body of a dead person” – a woman) and “the use of [ human ] excrement in association with degrading or dehumanising sexual conduct” [ with the female corpse ]. the outcome of that case, heard by justice goddard on 7 july 2003, the day before she considered the appeal on “baise - moi”, may have some bearing on the present case being advanced by the society to the court of appeal .
it' s hard to know how to take this, mainly because i' ve never read anything quite like it. for this reason - its uniqueness - let' s say it' s good. and it is: fast - moving, convincing, entertaining. fine writing it ain' t, but it doesn' t waste words and it doesn' t feel as if it' s unfolding to an agenda. on my edition (the black inc australian one) an australian woman critic calls it (or the film version) a story about' women on top', and adds' vive le revolution!' but if you' re looking for cathartic anti - male affirmative - action scenarios look elsewhere: the two psycho sex - addicts in baise moi don' t care who they kill, man, woman or child, and they certainly have no manifesto. none, that is, except the absence of one. killing for killing' s sake - anything else is immoral. and there' s something true in this, at least in the world of baise moi (or maybe in any fictional world - how i hate books with a clear - cut moral). a book with so much sex and violence could easily (like american psycho) have bored or disgusted me, but not once did i feel this became gratuitous. and the characters? i liked them. whether this book will leave a lasting impression on me i don' t know, but for doing what it does with naturalness and raw grace i recommend it .
issue 3: if it wasn' t a french arthouse film it would never have got past the bbfc. this may be true, especially given the bbfc press release justifying baise - moi' s certification at' 18', with one cut to the rape scene. but the film' s release history elsewhere has been as troubled as its subject matter. given a rare' x' certificate after the french high court overturned the original' pg - 16' in the wake of a national front - led campaign, it was then banned outright by a number of local authorities. in canada it was banned by the ontario review board following walkouts at a toronto film festival screening, and a viewer at the parisian theatre in montreal broke into the projection room, tore the film out of the projector and threatened to bomb the cinema. ironically the bbfc decision may make baise - moi' s british reception its most liberal yet. the only problem the board claimed was the juxtaposition of extreme sexual images with violence, hence the cut of a penetration shot from the rape scene. similar shots have been allowed in scenes of consensual sex, however, and the bbfc applauds the film for its' serious cultural purpose'. whether any old french exploitation flick is capable of making a miraculous metamorphosis into arthouse respectability the instant it crosses the channel is another question. rather than asking how far those naughty french will go with their cinematic sex, we might be better off wondering why we' re happy to believe almost any foreign - language material must be' serious' .
5 from an anarcha - feminist perspective, this paper explores the socio - cultural reasons for the strongly critical reception of the film baise - moi. as non - simulated sex in mainstream cinema is still somewhat provocative, and film reviewers often evoke the corresponding matter of female sexuality, the first section explores these issues. the second section is concerned with another overtly denounced element of the narrative: the extreme violence. as women commit many of the obvious instances of violence, this is logically followed by a consideration of women perpetrators. finally, although the essay largely maintains a narrative perspective, the effect on the film reviewer of both the film' s aesthetics and its wider context cannot be ignored, thus the third section explores the grainy filmmaking techniques and the critique of the co - directors .
baise - moi ‘s street credentials are impeccable. codirector coralie trinh thi is a former porn star, as are the two leading actresses. the film has the look and feel of denmark’s dogme school; it’s shot in video rather than film; employs natural light; and uses “normal people” instead of high - falutin’ stars. most daring, it includes many scenes of penetrative, close - up sex, with a particularly brutal rape scene that has brought the wrath of censors around the world. canada, always free with the scissors, has simply lumped it in with the porn, refusing to let it be shown in ontario in mainstream theaters despite an enthusiastic reception at last september’s toronto international film festival and testimonials by such luminaries as atom egoyan. that it’s getting a release in america at all is more than a little surprising .
3 the film provokes a range of reactions that mostly centre on its inclusion of non - simulated sex, and which, along with its extreme violence, places it in the new french extremity genre. this term, coined by james quandt, denotes the relatively recent category of french films which include a predominant amalgamation of violence, torture, and sexuality (17). baise - moi stands out from this recent trend since the late 1990s for art house films with graphic content (downing ,
french cinema' s new' sexual revolution' postmodern porn and troubled genre
265). this is because, despite sharing such taboo features with its contemporaries, it is one of the few which garners such vehement opposition: the film has a 21% rating on rotten tomatoes, and a
generally unfavourable
35 out of 100 metascore on metacritic.
baise-moi ( fuck me ) is a 2000 french crime thriller film with elements of a rape and revenge film written and directed by virginie despentes and coralie trinh thi and starring karen lancaume and raffaëla anderson . it is based on the novel by despentes , first published in 1993 . the film received intense media coverage because of its graphic mix of violence and explicit sex scenes . consequently , it is sometimes considered an example of the " new french extremity . " as a french noun , un baiser means " a kiss , " but as a verb , baiser means " to fuck , " so baise-moi means simply " fuck me . " in some markets the film has been screened as " rape me , " but the french for " rape me " is emphatically not " baise-moi , " but rather " viole-moi , " and so in a 2002 interview rape me was rejected by the directors . in 2000 , the film censorship board of malaysia banned the film outright because of " very high-impact violence and sexual content throughout . " later that same year , the film was banned in singapore owing to " depictions of sexual violence [ that ] may cause controversy . " in australia , the film was allowed to be shown at cinemas with an r18 + ( adults only ) rating . then in 2002 , the film was pulled from cinemas and television and after that , banned outright . the film is still banned there because of its " harmful , explicit sexually violent content , " and was re-banned in 2013 . however , an edited r18 + version was screened on 23 august 2013 on the world movies channel of the australian state broadcaster sbs , as part of the world movies " films that shocked the world " season . 
baise-moi (fuck me) is a 2000 french crime thriller film with elements of a rape and revenge film written and directed by virginie despentes and coralie trinh thi and starring karen lancaume and raffaëla anderson. it is based on the novel by despentes, first published in 1993. the film received intense media coverage because of its graphic mix of violence and explicit sex scenes. consequently, it is sometimes considered an example of the " new french extremity. " as a french noun, un baiser means " a kiss, " but as a verb, baiser means " to fuck, " so baise-moi means simply " fuck me. " in some markets the film has been screened as " rape me, " but the french for " rape me " is emphatically not " baise-moi, " but rather " viole-moi, " and so in a 2002 interview rape me was rejected by the directors. in 2000, the film censorship board of malaysia banned the film outright because of " very high-impact violence and sexual content throughout. " later that same year, the film was banned in singapore owing to " depictions of sexual violence [ that ] may cause controversy. " in australia, the film was allowed to be shown at cinemas with an r18 + (adults only) rating. then in 2002, the film was pulled from cinemas and television and after that, banned outright. the film is still banned there because of its " harmful, explicit sexually violent content, " and was re-banned in 2013. however, an edited r18 + version was screened on 23 august 2013 on the world movies channel of the australian state broadcaster sbs, as part of the world movies " films that shocked the world " season.
baise-moi (fuck me) is a 2000 french crime thriller film with elements of a rape and revenge film written and directed by virginie despentes and coralie trinh thi and starring karen lancaume and raffaëla anderson. it is based on the novel by despentes, first published in 1993. the film received intense media coverage because of its graphic mix of violence and explicit sex scenes. consequently, it is sometimes considered an example of the " new french extremity. " as a french noun, un baiser means " a kiss, " but as a verb, baiser means " to fuck, " so baise-moi means simply " fuck me. " in some markets the film has been screened as " rape me, " but the french for " rape me " is emphatically not " baise-moi, " but rather " viole-moi, " and so in a 2002 interview rape me was rejected by the directors. in 2000, the film censorship board of malaysia banned the film outright because of " very high-impact violence and sexual content throughout. " later that same year, the film was banned in singapore owing to " depictions of sexual violence [ that ] may cause controversy. " in australia, the film was allowed to be shown at cinemas with an r18 + (adults only) rating. then in 2002, the film was pulled from cinemas and television and after that, banned outright. the film is still banned there because of its " harmful, explicit sexually violent content, " and was re-banned in 2013. however, an edited r18 + version was screened on 23 august 2013 on the world movies channel of the australian state broadcaster sbs, as part of the world movies " films that shocked the world " season.