There are no bans. Movie to the bone is misanthropic. It's like a knockout punch, aimed at women's empowerment, against exploitation, racism, sexism, and at the same time erotically charged. So traumatizes the viewer that it literally eats into memory, and it is impossible to see. Therefore, it hardly makes sense to ever revise it, even if the storyline is wonderful, with well-thought-out characters - extreme Thelma and Louise.
Heroines hate the world fiercely. They want him to burn, crash, bleed and beg. The key phrase to understanding their motives is: ': How I wish I had such a quiet home, a family. This will never happen again & #39. Each, having committed an accidental murder, believes that this has passed the point of no return even to the former, rather unenviable existence, not to a normal female life. They continue to commit brutal murders and violence against men in almost every scene!
By the way, not all of their males were decided by girlfriends for misfortune. Only those who treated them as fallen. And if after watching someone no longer wants to follow the example of negative characters of criminal thrillers bullying, rude, mocking and mocking, as well as rape, robbery and murder, the film “Fuck me” can be considered socially useful – assanizing the environment.
I found this film too cruel. Many questions about who killed whom and why remained unanswered. The only thing you can praise him for is the morality of drug addicts, or rather its absence, is perfectly shown. And it does not border on any permissibility. A person obsessed with heroin is capable of anything.
Now, as far as porn is concerned, there is direct eroticism, and sex is not as satisfaction, but as a method of relieving stress and a way out of the impasse. The script is as simple as ever.
Two girls who were raped by drug lords, who did not receive money for a dose of heroin, decided to take revenge on everyone and everything. After all, you need money to get a dose, it's like an axiom. What better way to make money than to offer sex? And this despite the fact that you do not experience orgasm, because the finale is already written in advance.
A separate shock to me was caused by the shooting scene in a brothel, which not only shows all kinds of sex, but also the apotheosis of perversions in murders. But after this climax, luck can not be endless: one of the girls dies, and the second failed to settle scores. And yet, the question remains: for whom and for what lived obsessed drug addicts. There was nothing human left in them.
This film once again convinced me of the cynical and mercantile world we live in. You can do anything for money. And to watch such dirt is not recommended to anyone - in life everything is more real and much more terrible.
4 out of 10
The woman, the Essence of Everything, who brings new life to this cluttered world, can become angry and take a crooked and bloody path for a variety of reasons, both external and internal. If you are constantly humiliated and subjected to sexual and other tortures, there are only two ways out of this situation: death, gradually turning into a disgusting piece of flesh, or revenge. Manu and Nadine, who knew a lot of hellish pain and humiliation, chose the second way.
The struggle for equality is good, the struggle against the damned political correctness, which has made everything dishonorable, is perhaps even better, but the struggle for the sake of the struggle itself, the revolution in the name of the idea of the revolution itself, without the interchangeability of bursts of civil activity and total suicidal rest, endless violence for the sake of violence is nothing more than the bliss of the well-fed, fattened and liquefied in its own fate of the bourgeoisie, especially in France of the nineties and the beginning of the zero, to the literalistic beginning of the process of the process of dissolution and expansion of former colonists, who mainly do not even know those who do not give birth in Dumm. People of the art of the Fifth Republic (and before that the Fourth, Third, etc.) in this sense always thought in terms of ruthless radicalism, etching and squeezing out of themselves sometimes the original memory of norms and principles, creating art for the sake of art, rhyming all this with not always adequate rebellion in those days when it simply ceased to be fashionable, Debord, Sartre and other flaps of appeals scattered over already empty Paris, and Godard, René and others, simultaneously changing the cinema, began to openly troll it themselves. Moreover, this applies to such a phenomenon as feminism, formulated in theory as early as 1792 by Olympia de Gouges, but developed already in the postwar and disco period in practice by Simone de Beauvoir, Braja Oettinger and Julia Christeva, denying the cult of power in the direction of the cult of body, flesh, sexual liberation of the female ego. And mutated feminism Catherine Breia at the outset of the reign of Jacques Chirac gave its very unambiguous fruits in the film “Fuck me”, filmed on the novel of the same name by the author Virginia Depan in collaboration with the former porn actress, his former powerful skills did not lose, Coralie Trin T.
Perhaps the main feature of the literary source, the plot of which is simple to obscene and indecently dirty, was that its syllable, abundantly diluted with obscene vocabulary, obviously inherited the traditions of the “new novel”. Grille, Simone, Barrot and Sutor, but only in the path of intentional cinematography with the change of frames, episodes and glues, but executed in a purely literary form, while the ideology of Virginia Depant in “Fuck Me” was felt on a physical and physiological level, while it is well known that the neo-Romanists absolutely rejected the political idea. And, having managed to adequately translate the easily decipherable misandria into their picture, Depant and Corali, surprisingly, did not cope with the cinematic language. Falling into the hysteria of total hardcore, the film, not devoid of self-evident postmodern charm, not lamely decorated with the nervous scars of “Thelma and Louise”, “Natural Born Killers” and “Devils”, seems to be a completely anti-cinematographic creation, behind the clear, albeit radical ideological essence of which the narrative is lost, and the film crumbles into tiny perverse sex and expressive violence.
Suddenly reminding stylistically not the intersection of Dogma-95 and the French New Wave, and genre is not the symbiosis of porn and action film, or the existential road parable about two marginalized fallen into the abyss, "Fuck me" more and more to the final spews only aggression and the eternal intention to shock, replacing any common sense. If Katrina Breya, semiotic threads of which literally everything is sewn in the book and in the film, in her magnum opus “The Real Girl” and “Romans X”, the liberation of the Female from the Male paradoxically understood as sex with everyone and wherever she got, even on the floor, even with the falla, then the authors of “Fuck me”, and the film in particular it showed that the feminal freedom of will from the male principle was understood as a total accumulation of the male end despite the fact that the heroines of the tape, finitain pudine and Manu, by no means the victims, who live in this dirty cat, and who live in the mudddy. But they treat their internal cracks by inflicting mortal wounds on men, also, however, not the most honest rules, but the acceptability of their animal aggression is very doubtful, because, using the basis of Sartre, Beauvoir and Oettinger, they completely distorted him and reduced the physical to insignificant, to bacchic and eschatological andromania, mixed with manic monomania of voluptuous Guro and degrading anthropophobia. The film produces the opposite effect: in its obvious hatred of men, the picture of the purer Antichrist by Lars von Trier makes us consider all women chaotic prolifications of Hades, the darkness that will erase even a shadow from the face of the earth, with meat depriving himself of Adam’s rib.
You don’t want anyone to be at the bottom. There are no simple joys, no normal communication, no sense of significance, but only pain, suffering, brutal beatings, sophisticated bullying and a foul-smelling mass of dirty sex. The two prostitutes who have settled at the very bottom have long since not called themselves women, it is unknown who or, more precisely, what they consider themselves to be. When they met each other, they began to die. Not in the way that their victims would be killed by a bullet, a heavy blow, or a car, but slowly, rotting from the inside, turning into just a human shell with vile contents. Life for two marginal women is a short cycle between taking a dose, swimming in an alcoholic harbor and introducing male flesh into the hungry womb. And then the slowly rolling wheel accelerates - another victim goes to hell, the girls wash their blood, lazily count the remaining money and firmly inspire themselves with the idea of their own elusiveness. This cannot go on for long, but the bloody campaign has only just begun, and it is not easy for two devils to satisfy their brutal appetite.
Once killed, two killed, and then the count of the victims is no longer conducted. The dregs of society are generally tight with arithmetic, which does not detract from the desire to declare themselves to the shy world. A movie about murderers is doomed to scandal, which could tell a lot of John McNaughton or Oliver Stone. However, the shocking film “Fuck Me” released on the eve of the millennium does not rely on well-known analogues, because the focus is on two women, and the bloody retribution they impose is unthinkable without hard sex, shown in all gloomy colors. However, to consider the film pornographic, means to divert attention from the main topic. They don't make love here, they fuck rudely here, which looks like an animal slut without a hint of intimacy. In fact, sex is only a necessary addition to the sweeping picture of ruthless murder. Former prostitute Nadine and ex-porn actress Manu only with a stretch can be classified as human, so chaotic and senseless their excesses. To find answers about the nature of the filmed evil, for which France was not ready, one should dig into the past.
The maniac from Henry: The portrait of a “serial killer” was dangerous for its phlegmatic nature, the commission of the crime was a kind of experiment for him, whether the stupid police will be able to take a trail. A couple of murderers from “Natural Born Killers” was the director’s response to the desire of society to savor the details of the crime, because otherwise life is boring. Virginie Depant and Coralie went further than colleagues McNaughton and Stone – a mixture of porn debauchery, coupled with haphazard murder could not but produce a shocking effect on the bewildered audience. Scandal is ensured, the unknown actresses of petty pozhika overnight became celebrities, but if you throw away tons of blood, sperm, dirt and garbage, then there is a faint tape with a claim to documentary. The subsequent grindhouse motifs of cinema were created with a specific purpose - to show the marginalization of society and the dormant threat from the collapsed scum. Years later, it is not difficult to come to a logical conclusion - history has not developed.
In the Charter of the Ukrainian movement “Femen” you can find many interesting provisions on equality, but in the scandalous French picture there is nothing like it. However, do not change the fact that the movie screens quite plausible rampage of the new-found avengers against everything moving and not necessarily with a bow between the legs. A couple of maniacs do not set out to punish exactly the men they see as former offenders. What's killing Nadine and Manu? A way to have fun, an addition to a successful evening, an opportunity to once again make sure that you are invulnerable before the law - anything but the fight for women's rights. "Fuck me" without scandalous tinsel - an exploitative movie with a disgusting shooting and an unsuccessfully selected soundtrack, fateful rolls, emphasizing either the coolness of two whores, or the imminent end of complacent males. In the film “Fuck Me” there is no hint of researching the problem, not finding an attempt to present prostitutes as victims of circumstances, but only savoring a bloody feast. The whole screen action is a deadly merry-go-round launched by someone’s unjust hand. The closer the end of the film, the more senseless excitement becomes in it. Victims are multiplying, the elementary precautions are spitting more and more, and the local police seem really fit only to issue fines. Ascribed to one of the girls almost a duty of honor to the murdered friend is just a clumsy attempt to give the images a semblance of humanity.
PR is actually a useful thing, even if executed with violations of technology. The clumsy ribbon of a couple of activists remained a thing in itself - a shocking action strictly for once, if there is a desire to contemplate the notorious bottom. Acting game is a completely alien phrase to this picture, unless you count under it gambling tights and a couple of scenes of skillful blowjob. Quite attractive young women are turned into fiends of hell, for which only very careless or hungry men can get a chance. But here's the paradox: Virginie Depant and Coralie's movie doesn't seem to deserve a trash can. It took away the creators in the wrong wave and almost immediately, but an attempt to give the events a wide resonance was. The directors were ruined by the desire to combine the incompatible: hard porn and naturalistic violence. Scandals, hype can provide initial interest even in such a movie, but epiphany sooner or later comes. The problem of prostitution is an inevitable scourge of human society, a kind of retribution for the desire to buy soul and body at least for a while. It’s tempting to recognize “Fuck Me” as a dubious stage in the history of French cinema, but it’s better to do without it – nationality doesn’t matter. Evil in any country is evil, and it is always ready to raise its head and is only more dangerous because it acquires feminine features that are cute to the eye.
4 out of 10
The woman, the Essence of Everything, who brings new life to this cluttered world, can become angry and take a crooked and bloody path for a variety of reasons, both external and internal. If you are constantly humiliated and subjected to sexual and other tortures, there are only two ways out of this situation: death, gradually turning into a disgusting piece of flesh, or revenge. Manu and Nadine, who knew a lot of hellish pain and humiliation, chose the second way.
The struggle for equality is good, the struggle against the damned political correctness, which has made everything dishonorable, is perhaps even better, but the struggle for the sake of the struggle itself, the revolution in the name of the idea of the revolution itself, without the interchangeability of bursts of civil activity and total suicidal rest, endless violence for the sake of violence is nothing more than the bliss of the well-fed, fattened and liquefied in their own fate of the bourgeoisie, especially in France of the nineties and the beginning of the zero, to the literalistic beginning of the process of the process of dissolution and expansion of former colonists, who mainly do not even know those who do not give birth to Ducomm. People of the art of the Fifth Republic (and before that the Fourth, Third, etc.) in this sense always thought in terms of ruthless radicalism, etching and squeezing out of themselves sometimes the original memory of norms and principles, creating art for the sake of art, rhyming all this with not always adequate rebellion in those days when it simply ceased to be fashionable, Debord, Sartre and other flaps of appeals scattered over already empty Paris, and Godard, René and others, simultaneously changing the cinema, began to openly troll it themselves. Moreover, this applies to such a phenomenon as feminism, formulated in theory as early as 1792 by Olympia de Gouges, but developed already in the postwar and disco period in practice by Simone de Beauvoir, Braja Oettinger and Julia Christeva, denying the cult of power in the direction of the cult of body, flesh, sexual liberation of the female ego. And mutated feminism Catherine Breia at the outset of the reign of Jacques Chirac gave its very unambiguous fruits in the film “Fuck me”, shot on the novel of the same name by the author Virginia Depant in collaboration with a former porn actress, his former wet skills did not lose, Coralie Trin T.
Perhaps the main feature of the literary source, the plot of which is simple to obscene and indecently dirty, was that its syllable, abundantly diluted with obscene vocabulary, obviously inherited the traditions of the “new novel” of Grille, Simon, Barrot and Sutor, but only in the path of intentional cinematography with a change of frames, episodes and glues, but executed in a purely literary form, while the ideology of Virginie Depant in “Fuck Me” was felt on a physical and physiological level, but at that time absolutely not politically known. And, having managed to adequately translate the easily decipherable misandria into their picture, Depant and Corali, surprisingly, did not cope with the cinematic language. Falling into the hysteria of total hardcore, the film, not devoid of self-evident postmodern charm, not lamely decorated with the nervous scars of “Thelma and Louise”, “Natural Born Killers” and “Devils”, seems to be a completely anti-cinematographic creation, behind the clear, albeit radical ideological essence of which the narrative is lost, and the film crumbles into tiny perverse sex and expressive violence.
Suddenly reminding stylistically not the mix of Dogma-95 and the French New Wave, and genre is not the symbiosis of porn and action film, or the existential road parable about two marginalized fallen into the abyss, “Fuck me” more and more to the final spews only aggression and the eternal intention to shock, replacing any sound concepts. If Catherine Breia, semiotic threads of which are sewn literally everything in the book and in the film, in his magnum opus “Real Girl” and “Romans” X' liberation of the Female from the Masculine paradoxically understood as sex with everyone with whom and wherever getting, even on the floor, even with the hit, the authors of "Fuck me", and the film in particular showed that the feminin free will from the male principle was understood as a total blackout of the male end, while the heroines of the tape, fini putain Nadine and Manu, are not victims of involuntary, not cocots, not pampered representatives of the cultural stratum, and those who themselves got into the dirt of this, stinking and bubbling, live and breathe. But they treat their internal cracks by inflicting mortal wounds on men, also, however, not the most honest rules, but the acceptability of their animal aggression is very doubtful, because, using the basis of Sartre, Beauvoir and Oettinger, they completely distorted him and reduced the physical to insignificant, to bacchic and eschatological andromania, mixed with manic monomania of voluptuous Guro and degrading anthropophobia. The film produces the opposite effect: in its obvious hatred of men, the picture of the purer Antichrist by Lars von Trier makes us consider all women chaotic prolifications of Hades, the darkness that will wipe even a shadow from the face of the earth, with meat depriving himself of Adam’s ribs.
A very good and subtle film. I don’t understand why everyone sees violence in the film and rejects it. In the same French film Doberman, the violence and murders were about the same, but they were taught in a different context - and everyone admires them. Feminism in the film showed clearly - friends did not kill all men - the only survivors were those whom they "shot" themselves, with whom they had full-fledged sex. They killed people who treated them like sluts. I think the film is very worthy - you just need to see between the lines the main idea:
After each of the girls committed an accidental murder, you can understand their feelings of doom, that there is no further way, the whole life will now go differently, and the committed murder can not be thrown out of your head, do not forget, that is, in fact, the dead end is already there and you can already "jump into the abyss", but it so happened that they met, and finally rolled out their hysteria on society, and it does not matter 10 it will be murders, 50 or 100 ...
As quoted above – “We have no mitigating circumstances” – they did not try to disguise or hide anything, their own souls are long over and they act inertia until they are stopped. Key phrase:
How do I want to have such a quiet home, family?
This will never happen again.
Thank you to the creators for a very thin film, which not every viewer can understand. Great soundtrack.
PS. the main "flick" from Doberman played in this film.
"Fuck Me" is a 2000 French crime drama that shocks and discourages the viewer. The film is dramatic and tragic, and its story is shot believably. In the film there are not erotic scenes, but pornographic, which gives this drama something different and forbidden. The film is not bad, but it is an amateur, for those who like to experience shock from what they see and watch tough stories about humiliation and bullying based on a sexual nature. We see two main characters who are at the very bottom of life, and they are well aware of prostitution, humiliation, rape, pain, suffering and the loss of a loved one. We see that their lives are dramatic and difficult, and they are going through a path of revenge, in which there will be no happy ending.
The cast was unknown to me, but the main characters played well and without falsehood, and this is the most important thing, because when little-known actresses play, it is no longer interesting to watch. I remember Karen Lankom well in this drama, and she played talentedly: her character seemed strong and independent, but in fact she was extremely vulnerable. The actress in this film plays in many compromising pornographic scenes, which was unexpected. Actress Raffaela Anderson plays a sweet and desperate girl who suffered in life and saw a lot of things bad and dirty, and her character I felt more sorry for everything. We see that she was subjected to a brutal rape, and how unpleasant and vile it all was to her. “Baise-moi” is a shocking and incredibly dramatic movie, covered with sex, dirt, cruelty, injustice, in which there is not even a ray of light on something good. The film is unusual and not bad, but it is not for everyone.
The world is cruel, people tell me, and I just send them all to a bad mom. For it is not a matter of peace, but of people who today stink unbearably of pathos, for whom lies have become the main gear in a complex mechanism called the speech apparatus. From the words of the grandmothers: “Yes, in our time there was no such debauchery, and even sausage for a penny you could buy,” said the old woman and for a moment imagined herself a philosopher of today. Elderly people for some reason think that their age is able to teach the mind of the younger generation, which in turn takes an example from the Belarusian rock musicians of the band “Lyapis Trubetskaya”, and together with them put their huge reinforced concrete bolts on everything and everyone. In short, what can you do to pretend to be a philosopher or something too well-read, trying to see in a real shit movie some meaning or something that can change someone’s worldview. All this is bullshit, because underwriters and underdirectors Virginie Depant and Coralie in their film touch on the subject of the cruel world, but do not fully disclose it. With their work, they only let us know that French cinema also misfires.
The French criminal porn drama was disgusting. Not only did a real rape break out on the screen in the middle of the film with large-scale shootings of sexual intercourse, but all this was so realistic that everything that happened afterwards was not perceived in any way. The main characters are two rampant girls who have created such a dangerous and disgusting world for themselves, they have long asked for cruel rape, walking at night in dangerous areas. After a hard fuck somewhere in an abandoned warehouse, putting on knickers and wiping the blood from broken lips, the girls begin to think of revenge on the world. The pens scratched on the asphalt took a pistol and felt the power and power that had been used against them yesterday by two men in that very abandoned warehouse. From the very beginning, a deep pit formed on the plot, into which two victims with chicken brains fell - Mana and Nadine. These prodigal souls do not know what they want, inexplicably begin to blame everyone for the crime, but not themselves. You are the author of what is happening to you, and if the world is too cruel for you, then you are too weak and not smart enough to find the strength to get out of the whirlpool of morally corrupt people who say that our entire globe is going to hell!
3 out of 10
I don't want to know what they wanted to show me. I don't see feminism. I don't like the story of how the souls of girls were maimed either.
At some point, everything broke in their lives. By chance, these two girls find each other. They recovered, but in a different way.
Question: What the hell are they doing?
Answer: They live and enjoy in their own perverted way. They're very honest. They let it all go, indulging in their strange desires.
I may have bad tastes, but it was beautiful and elegant. Scenes of sex, violence, murder look natural.
In general, the film reminded me of an animal pill, drug intoxication. However, I would not say that he changes anything in consciousness and turns. For me, this is a film for aesthetic pastime.
8 out of 10
The woman, the Essence of Everything, who brings new life to this cluttered world, can become angry and take a crooked and bloody path for a variety of reasons, both external and internal. If you are constantly humiliated and subjected to sexual and other tortures, there are only two ways out of this situation: death, gradually turning into a disgusting piece of flesh, or revenge. Manu and Nadine, who knew a lot of hellish pain and humiliation, chose the second way.
The film “Fuck me”, filmed in 2000 by French women-directors Virginie Depant and Coralie based on the novel of the same name Depant, which at one time gave a huge hype, is perhaps one of the most shocking films of French cinema of the beginning of the zero. “Fuck Me” is a feminist story of the revenge of two women around the world, especially the men who caused them the most pain, and this picture combines elements of a “revenge movie” in the style of “Thriller: Cruel Movie”, a psychopathological porn-thriller and a feminist philosophical drama in the style of Catherine Braye, the film language of which, first of all, and relied on Virginie Depant and Coralie in creating their film, which affects the viewer no less shocking than a few later “Irrever”.
The cameraman Benoit Shamayar shot the film in naturalistic and extremely tough tones, saturating the film with wild and extremely anti-aesthetic realism, which makes it better for persons underage and mentally unstable to strictly guard against this picture.
The play of actors, not very famous, impresses in the picture with its audacity and courage, creating essentially repulsive, but very convincing and brutally cruel heroes.
Composer Varou Jean wrote an incredibly depressing and depressing soundtrack for the film, even more creating an unpleasant and cruelly disgusting atmosphere in the picture, which the film is saturated with from the first and up to the final frames.
I will not particularly recommend this ambiguous, controversial and even shocking film for some viewers, but if you are looking for a non-standard author's film, then this film should not disappoint you in any way.
8 out of 10
I tried. I tried to find some taste in this movie. And the little fingernail didn't pick up ... Sorry. You could have made a really hard and ruthless movie if you wanted to. The film was recommended to me as "the absolute hardcore of the genre, which can turn the mind." It didn't flip. No strings touched.
What did the filmmakers want? Probably, tell us, ordinary viewers, about the problems of women at the bottom, about feminism. And they wanted to do it without resorting to “love story”, flirting with the viewer, they wanted to cause disgust and perhaps fear of what was happening. Of course, there are ten points for the idea, but... Fear and disgust caused ... only not the kind of disgust that "consciousness turned over." Not to such an extent as to give at least 5 points, wiping away tears and grief about the fate of the main characters.
If Virginie Depant and Coralie set out to defy disgust, they almost succeeded. And if the goal was to cause perplexed scratching of the back of the head, then bravo, mission accomplished, goal achieved.
The main heroines, Manu and Nadine, imagine themselves the arbiters of fate, a kind of universal force that should punish everyone: men, women. Paul isn't important. Most importantly, our ladies robbed and killed those who had nothing to do with them at all. That seems to be the main criterion. What's the matter? The beautiful girls were very cruelly offended by society (perhaps...), went to the bottom (something I did not think that they were dissatisfied with their lives), and then there was a certain (I will not disclose – this is the key point) event in the life of both colorful women that they decided to run away and start killing. This is the global solution that our heroes came to.
Explain to me what was the fault of the woman they shot? Tell me, how did the heroines get guilty of a man they hit on his own car? Is it his fault he's a man? Then what is the woman's fault? And the citizen they went with, what was his fault? That they, forgive me, lead a lifestyle that suits him: use drugs and sleep with anyone? That's exactly what he wanted from them. No, that's not going to work.
It doesn't smell feminism. The film is not even about girls who have nothing more to lose, who are tired of life and are now looking for thrills. Nope. The film is about a day, not so much social as moral. And the problem with the film is that it doesn't give a reason to think about that moral day. If a movie is created to make the viewer think, then you need to invest in it something else, except for the actresses of the genre “for adults”, shooting and drugs.
So what can I say about the movie? The plot is devoid of volume, the actresses play “according to the script”, they did not penetrate the fate of the heroines. The film is simply tasteless.
But that's just my subjective opinion. I recommend watching the movie, although my opinion is negative.
1 out of 10