Clockwork-Avacado Perhaps rather undeserving of being labelled one of the most controversial and "vivid" movies of all time, "Baise Moi" is perhaps most challenging in its' depiction of a seductive immorality, than in any particular "vividness" of imagery. (Altohugh it does have distinctly adult moments, with a rather alarming regularity.) This is one of those rare films which courts sensationalism, and mines it for all the perverse pleasure our characters take from being as far removed from humanity as is possible to depict. Like "A Clockwork Orange", "Baise Moi" is rather uncomfortable watching, although I can't help thinking a less explicit version could still have told the same story, and, in so doing, doubtless have attracted a far wider audience, and may not be wreathed in notoriety. Because a lot of the most successful moments in this disturbing thrill ride, are those when the power of suggestion is at its' strongest. Violence is depicted with the usual blood and thunder, but there is definitely a conscious attempt to mask some of the more extreme moments - such as our protagonists delightfully stomping, droog style, a man to death after he has suffered a particularly unpleasant and humiliating fate.The point here, is that this is indeed a very graphic film, but if the same effort had been made to mask the sex in this movie, that is made for the violence, the whole thing may have been more palatable. As it is, it's difficult to sincerely recommend this movie to someone else, because it's little short of pornography in places. This, it seems to be, need not have been the case. "Spring Breakers", by Harmony Korine, deals with a similar subject - disaffected, over-sexualised, bored girls going on a voyage of pointless, emotionless violence - but is far more successful because it knows exactly what it is doing, and is careful in its' depiction of both sex and violence, and is a truly scary movie. Instead, "Baise-Moi" is a frustrating experience, because, not only is its' depiction of sex rather striking, it is also rather unnecessary in the telling of this story, especially in its' rather single-minded obsession with oral sex. This rather makes our protagonists seem a lot less believable, because there is little empowering about this particular practise. Instead, the violence is shocking, and powerful, and the sex just seems like someone felt the need to put as much sex as possible in the movie to get it to sell. Which it doesn't need, because parts of this movie shine in unique ways.At its' best, this movie seems to recall "La Haine", five years previously, and far better constructed, in its' depiction of ennui amongst seedy, borderline criminal cases. Nadine and Manu drift around in a truly horrific world, in which things have become so bad, that they have all but lost their grip on reality. The subsequent "road trip" which they go on, is as each for purpose, for glamour, and for kicks. In a particularly harrowing scene, Nadine even finds that rape has lost its' power to shock her.The relationship between Nadine and Manu is tender, and fresh: They hang about lethargically, debating the life they are undertaking, before exploding into a fresh act of violence. NAdine discusses their "lack of good lines" during their kills, in a rather postmodern sequence which is at once chilling, funny and mesmerising. Both girls give stunningly good performances, and their friendship seems so realistic, yet strange, that it helps carry us through about twenty minutes of solid sex scenes. A more established director would have devoted far more time to their relationship, because, when they are together, these two really, really shine, but instead, they are given a few scenes together, and largely are relegated to standard interactions with other infinitely less interesting characters. The sudden frazzling out of their desires is disappointing, yet totally in character: These are two characters who, from the first time we meet htem, are combating suicidal urges, from sheer boredom, and their clinical discussions about how they are going to "go out big" are again stunning and clever.The climax is rather unsatisfying, in that it delivers a decidedly unremarkable ending to a unique story. It does little to really address the realities of these characters, instead providing a simple closure on the lives of these fictional characters. Which is a shame, as the film has courted allegory from start to finish, and raised some dangerous points. Its' rather a chapter 21 case (Clockwork Orange reference), of closure for closure's sake. But ultimately, although frustrating in its' pandering to lower common denominators, this is a vivid film in that it is morally complex in its black-for -white world view. It is still powerful, altohugh its' power to shock is rather muted by its' tendency towards stylised sexual violence. Disappointing, and tricky to watch more than once, but still a valuable movie in its' depiction of a genuine human evil.

orza1995 Baise-Moi follows the story of Nadine (played by Karen Lancaume) and Manu (Raffaëla Anderson) who are gang raped by a group of men, this vicious act is the catalyst for a full fledged femme- fatel revenge trip of sex and violence.Baise-Moi is one of the most sexually explicit film to come out since Deep Throat, the film contains sexual activates all involve actual sexual intercourse being shown. The sex in the film is placed to create a cutting edge feel to the film and to try to create a film that is "real". fans of John Waters early movies such as Pink Flamingos will feel a particular nostalgia and may even see this film as it truly should be seen as a transgressive cult film that has its tongue firmly in- check (pun intended).However on a technical level the film is severely flawed the cinematographic is simple and bland ,however this adds to the raw and brutal land scape the film creates. Other amateurish parts of the film include the some of the effects in respects to the action orientated sequences of the film ,where the actresses who are surprisingly very competent barring mind they have only acted in hard core pornography, come across as clunky and badly directed. This may lead to people coming away disappointed with the film and carry around the notion of emptiness and that the film is one dimensional. In regards to the acting the cast does a suppressing convincing job, especially the two main leads who portray these cold but loving women who enjoy killing and shagging there way thought France. This add to the notion that Baise-Moi has more of a parallel existences with John Waters band of misfits, most notably Divine. The violence is shot with no style and bring to mind the latter works of lucio Fluci, in terms of the technical side this proves that the tow directors are not the most artistically driven in terms of having an atheistically pleasing film. However on the other hand the film verity approach does add to interesting themes of the world falling apart, however the films overall action does make theses theme slightly frivolous in there overall impact and by the end of the film they have completely fallen out. Overall the film is flawed in respects of the technical accomplishment, but still manages to create an unforgettable film, that has hit the nail on the head in terms of pressing the right buttons and using the gimmick of real sex and saving itself from being a middle of the road copy of Thelma & Louise

zardoz-13 Former prostitute Virginie Despentes and former porn actress Coralie Trinh Thi co-directed this pedestrian crime thriller about two women on the rampage who have no qualms about killing anybody who gets in their way. Comparisons between this trash and Ridley Scott's acclaimed "Thelma and Louise" are inevitable, but "Baise-Moi" lacks virtually anything and everything that a good movie needs. Two ruthless thugs rape two women in a garage, and these two unfortunate girls, Nadine (Karen Lancaume) and Manu (Raffaëla Anderson), obtain guns and then launch a shooting spree. They rob a woman at an ATM and riddle several men. Most of the men and women that they murder don't deserve their fate. A lot has been written about the explicit sex scenes in this movie. Actually, you could probably find a much more explicit example of this kind of pornography. The two female directors do show penetration, but they don't show much of anything on the girls. Breast shots are held to an absolute minimum. The film contains no vestiges of humor. Nadine likes to rip the nylons that she wears before she has sex. These two are not only unsavory but also unsympathetic. The performances are forgettable. About the only scene that strikes an interesting note occurs early when one girl cries and struggles against the advances of one rapist and gains the attention of the other rapist. When the two rapists switch girls, Nadine neither cries nor struggles, and the rapist turns her loose. Perhaps there is a veiled message. The pornography takes up a minor percentage of the action. The dialogue--even in subtitles--is just as forgettable. Clocking in at 77 minutes, "Baise-moi" is mercifully brief. For the record, Nadine dies when she tries to hold up a store, and Manu is captured by the authorities as she contemplates suicide. No matter what you read about this superficial saga, you are wasting your time with his potentially interesting epic lensed from the perspective of the porn industry..

JoshuaDysart Everyone who defends this (needlessly) controversial film likes to say that it's absolutely, definitely not porn. They say this because "the film is not meant for masturbation" or some other legally defining excuse. Even the filmmakers have cried out, "This is not porn!" in their own defense.But the thing is… this movie is totally porn. It gleefully fetishisizes violence, rape, drug use, lesbianism, domestic abuse, sodomy, robbery, gambling, blow jobs, punk-music, revenge, menstruation, patriarchal oppression, suicide and your good old fashioned non-simulated sex. Most of the time the script feels like it's just ticking off boxes on some all inclusive list of kinks. And it's all done for the money shot, baby… every time. You know why it's porn? It's porn because it shows all of those things in detailed close ups… but it has nothing to say about any of them.Directed in a classic DIY style and squarely falling into the "New French Extremism" movement, it was made by two-women. One a former punk turned massage-parlour hostess and the other an ex-porn star. It features two other female porn actresses mass-murdering and fornicating (imdb won't let me use the word I want to use) across France, all in "trash" aesthetic video and shot in available light. It's a female power fantasy. An act of sexual reclamation that reverses the conversation on gender violence and it's created by actual sex-workers. So that, in and of itself, is interesting… the actual film, however, is tedious and artificial.At times the movie does seem to show a passing interest in addressing genuine gender-war rage, but that's all thoroughly lost in its own appetite for shock imagery and its desperate need to be offensive. I've read interviews where the filmmakers claim the movie speaks to all kinds of social injustices, from class separation to racism, and I suppose those ingredients are there in the mix, but in the end this movie is really only concerned with being more pornography in a porn saturated world.Although the fact that the movie has been banned in several countries, including France, suggests that it's just the sort of artistic exercise society needs. Sadly. So there's that.If you're into camp, actual on camera sex (Raffaela Anderson is pretty hot) and you don't mind a very intense rape scene (why is the sex so real and the violence so cartoonish in this movie?), I guess it's a pretty intriguing thing to watch.