Ruling over Palme d’Or winner fuels growing fears of conservative backlash in France.
A French court has cancelled the under-12 classification of Cannes d’Or winner Blue is the Warmest Colour following pressure from a Catholic pressure group, fuelling growing fears of a conservative backlash in France.
The Paris Administrative Court of Appeal ruling published on Wednesday (Dec 9) said the picture’s “realistic sex scenes” were are “of a nature that could impact the sensitivity of a young public” and ordered French Minister of Culture and Communications Fleur Pellerin to re-examine the classification within a two-month period.
The ruling, some two years after Abdellatif Kechiche’s passionate lesbian love story was released theatrically in France, has sparked consternation in cinema circles and beyond.
France’s under-18 rating was originally created in 2001 in response to the controversy surrounding the classification of Virginie Despentes and Coralie Trinh Thi’s Baisse- Moi.
It is aimed...
A French court has cancelled the under-12 classification of Cannes d’Or winner Blue is the Warmest Colour following pressure from a Catholic pressure group, fuelling growing fears of a conservative backlash in France.
The Paris Administrative Court of Appeal ruling published on Wednesday (Dec 9) said the picture’s “realistic sex scenes” were are “of a nature that could impact the sensitivity of a young public” and ordered French Minister of Culture and Communications Fleur Pellerin to re-examine the classification within a two-month period.
The ruling, some two years after Abdellatif Kechiche’s passionate lesbian love story was released theatrically in France, has sparked consternation in cinema circles and beyond.
France’s under-18 rating was originally created in 2001 in response to the controversy surrounding the classification of Virginie Despentes and Coralie Trinh Thi’s Baisse- Moi.
It is aimed...
- 12/10/2015
- ScreenDaily
Gaspar Noé’s bid to shock us into submission with 3D sex is let down by two-dimensional performances
“I want to film that which cinema has rarely allowed itself, either for commercial or legal reasons,” says Gaspar Noé, writer/director of cause celebre Cannes favourites Seul Contre Tous, Irréversible and Enter the Void. For his fourth feature, Noé sets out “to film the organic dimension of being in love”, free from “the ridiculous division that dictates no normal film can contain overly erotic scenes”. Thus we have a Last Tango in Paris-tinged tale of amour fou in which a disconsolate young American in Paris drifts from the responsibilities of fatherhood back into memories of lost love, Noé taking us on a lurid three-way tour of appendages and orifices, physical and psychological.
This of course is nothing new. Since the post-Deep Throat days of Nagisa Oshima’s Ai No Corrida...
“I want to film that which cinema has rarely allowed itself, either for commercial or legal reasons,” says Gaspar Noé, writer/director of cause celebre Cannes favourites Seul Contre Tous, Irréversible and Enter the Void. For his fourth feature, Noé sets out “to film the organic dimension of being in love”, free from “the ridiculous division that dictates no normal film can contain overly erotic scenes”. Thus we have a Last Tango in Paris-tinged tale of amour fou in which a disconsolate young American in Paris drifts from the responsibilities of fatherhood back into memories of lost love, Noé taking us on a lurid three-way tour of appendages and orifices, physical and psychological.
This of course is nothing new. Since the post-Deep Throat days of Nagisa Oshima’s Ai No Corrida...
- 11/22/2015
- by Mark Kermode, Observer film critic
- The Guardian - Film News
Starring: Karen Bach, Raffaëla Anderson | Written and Directed by Virginie Despentes, Coralie Trinh Thi | Based on the novel by Virginie Despentes
Baise-Moi is not an easy film to watch for a great many reasons, the foremost of which, after all the controversy surrounding the film’s dealt with, is that it’s really quite dull. Based on co-writer/director Virginie Despentes’ novel of the same name, the story follows two victimised, harried young women – occasional porn star Manu and prostitute Nadine – as they escape the misogyny and casual violence of their lives by screwing and killing their way across France.
…And that’s about it. The sex scenes are real (stars Bach and Anderson were both porn actresses up to the time of shooting) but not particularly insightful or revealing (apart from the obvious) but the violence is utterly unconvincing, showcasing lumpy blood effects and removing any sense of verisimilitude we might have previously gained.
Baise-Moi is not an easy film to watch for a great many reasons, the foremost of which, after all the controversy surrounding the film’s dealt with, is that it’s really quite dull. Based on co-writer/director Virginie Despentes’ novel of the same name, the story follows two victimised, harried young women – occasional porn star Manu and prostitute Nadine – as they escape the misogyny and casual violence of their lives by screwing and killing their way across France.
…And that’s about it. The sex scenes are real (stars Bach and Anderson were both porn actresses up to the time of shooting) but not particularly insightful or revealing (apart from the obvious) but the violence is utterly unconvincing, showcasing lumpy blood effects and removing any sense of verisimilitude we might have previously gained.
- 4/23/2013
- by Mark Allen
- Nerdly
★☆☆☆☆ Infamous for its scenes of graphic real sex juxtaposed with acts of brutal violence (the latter thankfully simulated), Virginie Despentes and Coralie Trinh Thi's Baise-moi (2000) is released this week on DVD in its original uncut form, courtesy of cult film specialists Arrow Video. Sadly, thirteen years on from its initial, muted rallying cry, this sleazy exercise in neo-exploitation feels just as vapid and nihilistic now as it did then. Crudely shot on digital with little or no aesthetic consideration, the best that can be said of Despentes and Thi's female-led revenge thriller is that its soundtrack will stay with you - for all the wrong reasons.
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- 3/26/2013
- by CineVue UK
- CineVue
Arrow Video's outrageous and completely uncut version of Baise-moi (2000) will be released on DVD for the very first time this Monday (25 March). One of the most controversial French films ever made, this highly anticipated release also marks the first time that Virginie Despentes and Coralie's cult classic will be available in widescreen format. To celebrate this new Baise-moi rerelease, we've kindly been provided with Three DVD copies of the film to offer our readership, courtesy of the hardworking guys and gals at Arrow. This is an exclusive competition for our Facebook and Twitter fans, so if you haven't already, 'Like' us at facebook.com/CineVueUK or follow us @CineVue before answering the question below.
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- 3/25/2013
- by CineVue UK
- CineVue
Steven R. Monroe’s remake of Meir Zarchi’s I Spit On Your Grave is a strange prospect. Its politics remain as confused as its narrative. What we have here is the rape-revenge movie going hand-in-hand with the torture porn genre. This remake isn’t as grotty as the notorious original but it is certainly more absurd.
One doesn’t know whether to cheer or disapprove of the barbarism in Jennifer’s revenge. In the screening (its European premiere), people cheered and winced; but mostly, they cheered. This production was always going to be contentious stuff, and while its a weird movie, it isn’t terrible.
According to the introduction by festival man Paul McEvoy, two seconds have been removed by the British Board of Film Classifcation and in the Us the MPAA refused to pass it, so it went out unreleased. Of course it’s shockingly violent – but that’s what audiences expect.
One doesn’t know whether to cheer or disapprove of the barbarism in Jennifer’s revenge. In the screening (its European premiere), people cheered and winced; but mostly, they cheered. This production was always going to be contentious stuff, and while its a weird movie, it isn’t terrible.
According to the introduction by festival man Paul McEvoy, two seconds have been removed by the British Board of Film Classifcation and in the Us the MPAA refused to pass it, so it went out unreleased. Of course it’s shockingly violent – but that’s what audiences expect.
- 8/28/2010
- by Martyn Conterio
- FilmShaft.com
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