Nadine and Manu are two mad women, as tidy as can be, almost perfectionists. They have several things in common: extreme sex, drugs, beer and the trigger. They find the solution to their problems with guns and beware to those who dare to get in their way!

Nadine

Manu

Radouan

Man in Pool Hall

Rapist

Big Guy

Man in Swinger Club

Cute Guy

Roommate

Wanted

Distributor Lady

Architect

Martin

Gunsmith

Hooded Asshole

Local Guy

BAP Woman

BAP Man
_Baise-Moi_ is, frankly, dreadful. Years ago, I had a flatmate who was obsessed with it—I’ve never understood why. Even setting aside the sex and violence, what remains is a shoddy mess: it looks and sounds like an early 2000s daytime soap, complete with a dreadful soundtrack and incidental music and performances that barely convince. The direction is apathetic at best. I watched it on an old DVD still bearing the BBFC’s cuts, so perhaps the visuals suffered there—but even Arrow’s restoration can’t polish this particular turd. Yes, the sexual violence still shocks, mainly due to how casually it’s presented. But in the near quarter-century since its release, the film’s once-infamous brutality has been easily surpassed—leaving Baise-Moi exposed as little more than a provocateur with nothing to say. It appears the only reason this film exists is to annoy and piss off the censors—it’s neither exciting, titillating, nor remotely captivating.
June 28, 2000

Nadine

Manu

Radouan

Man in Pool Hall

Rapist

Big Guy

Man in Swinger Club

Cute Guy

Roommate

Wanted

Distributor Lady

Architect

Martin

Gunsmith

Hooded Asshole

Local Guy

BAP Woman

BAP Man
_Baise-Moi_ is, frankly, dreadful. Years ago, I had a flatmate who was obsessed with it—I’ve never understood why. Even setting aside the sex and violence, what remains is a shoddy mess: it looks and sounds like an early 2000s daytime soap, complete with a dreadful soundtrack and incidental music and performances that barely convince. The direction is apathetic at best. I watched it on an old DVD still bearing the BBFC’s cuts, so perhaps the visuals suffered there—but even Arrow’s restoration can’t polish this particular turd. Yes, the sexual violence still shocks, mainly due to how casually it’s presented. But in the near quarter-century since its release, the film’s once-infamous brutality has been easily surpassed—leaving Baise-Moi exposed as little more than a provocateur with nothing to say. It appears the only reason this film exists is to annoy and piss off the censors—it’s neither exciting, titillating, nor remotely captivating.
