In the Realm of the Senses: Empire state

ALSO KNOWN AS Ai no korîda, L'empire des sens

DIRECTED BY Nagisa Oshima, 1976

STARRING Eiko Matsuda (Sada Abe), Tatsuya Fuji (Kichizo Ishida)

CERTIFICATION 18

RUN TIME 98 mins approx, Nouveaux Pictures

LANGUAGE Japanese

COVER QUOTE 'The expression of total passion' - The Times

WHY YOU SHOULD SEE IT Four years after hardcore Deep Throat, and two years after the soft-focus Emmanuelle, director Oshima distilled the desperation of sex for this exceptionally explicit arthouse movie. This version is available uncut though, crucially, one scene involving a very young child has been panned and scanned.

As the closing narration explains, Oshima based his film on a true story of a murderous affair which took place in Tokyo in 1936 and saw Sada Abe being treated as something of a folk hero in Japan. The insular complicity portrayed between the two protagonists means the film is not wholeheartedly moving but it is an extraordinary vision of sexual obsession.

THE PLOT Former prostitute Sada works in an inn, where she and another maid spy on the owner, Kichizo Ishida, and his wife having sex. When Sada is maligned as a whore she breaks into a furious row, which has to be broken up by Kichi. Kichi makes a pass at Sada when she is working and the two begin an affair, first in the inn and then visiting neighbouring hostels. At one, the couple stage a wedding celebration.

The couple become notorious with the staff at places where they stay for remaining confined in their rooms, barely eating but drinking and fucking all the time. Sada arouses Kichi's jealousy when she goes to visit a client while Sada herself becomes increasingly possessive of Kichi, threatening to cut off his penis if he ever has sex with his wife again.

The affair becomes more intense as the couple introduce strangulation into their intercourse. Sada strangles Kichi, apparently with his previous understanding, and then cuts off his penis. According to the closing vioceover, she wandered the streets of Tokyo gripping his dismembered member for four days before she was arrested.

THE FILM When Kichi first meets Sada she is wielding a knife. He lewdly implies she should be holding his penis instead and, for much of the rest of the movie, she is grasping one, the other, or both. Famously, a knife is finally applied to his penis, fatally.

In the Realm of the Senses opens with a scene of a homeless drunk being abused by some children. When Sada goes to his aid, he recognises her, claiming he used to visit her as a client. He begs one last encounter, offering to pay, and, momentarily, she takes his penis before being called away. There's an immediate sense of the power sex has over her and, perhaps, her own sexual power, which may have reduced this man to the gutter.

Sada is aware of her own attraction to sex and it is important for her, early in her affair with Kichi, to distinguish it from madness. 'I'm not sick,' she says; she's visited a doctor, showing the level of her concern: she's not a nymphomaniac, or any other tawdry diagnosis that might be applied, but 'hypersensitive'.

There is, also, an early indication of her propensity for violence: when she sees Kichi being shaved by his wife, Sada imagines taking the blade and attacking the woman. The scene which has been optically altered shows her tugging a small boy's penis, an image that would likely be deemed indecent under the Protection of Children Act.

Kichi is initially portrayed as a dissolute, if charming, drunk, prone to giggles and singing. He is fascinated by Sada's youth ('I'm no longer so young - how I envy you') and, as her madness grows, increasingly falls under her spell. He is the first to take her by the throat but the roles change as he says he can't bear to see her suffer. He allows her to throttle him with growing force for the pleasure it gives her (it is unclear if he is afforded any thrill beyond her enjoyment). Alongside some outdoor shots, these later scenes are some of the most beautiful in the movie as they achieve an almost mesmeric quality as she rides him in the throes of her orgasm.

Much of the film concentrates on his penis: it is shown erect, Sada fellates him or, at other times, holds a knife to it. When he wakes one morning, he finds her playing with it. 'Did you hold it all night,' Kichi asks. 'Of course.' 'It's as if he was yours,' he says later. 'He is.' Sada even has him piss inside her though, at another time, Kichi muses this is the only time his penis can rest. When they go home, she leads him by his penis and, of course, it becomes the focus of her threats: 'If I cut him off will you die?' 'Probably.' 'Then I don't want to.'

They do venture out, if only to go home or earn some money, and the outside world is an unwelcome visitor on their frolics. Maids criticise the state of their room - smell is especially important to Sada, while both partners enjoy the feel of each other's skin - encourage them to eat or, at least, to have less sex. They seem particularly shocked by Sada's continual willingness to suck Kichi's cock. At one point Kichi is warned, 'She'll end up killing you.'

By then, they are so wrapped up in their perpetual orgy, this prophecy is accepted as inevitable. Sada seems to achieve one incredible, final, orgasm at his death; in blood, she writes on her lover's body: 'The two of us, forever.'

KEY SCENES Chapter 2, 14:05 Kichi has Sada mount him at his home while she plays a musical instrument to cover for his wife. After sex she sucks his penis while he smokes a cigarette.

Chapter 3, 26:06 Sada and Kichi have sex in front of a group of women musicians. One of the women is deflowered by the others using a dildo carved in the shape of a bird before they all join in.

Chapter 4, 40:36 Kichi rapes the elderly madam of the inn where he and Sada are staying while Sada goes to visit a client, a school principal, to earn some money. She urges the ageing teacher to hit her, first across the face, then pinch her and pull her hair.

Chapter 5, 49:26 Sada 'lays' an egg that Kichi has inserted in her vagina, a surrealist image worthy of Georges Bataille. In his Story of the Eye (1928), protagonist Simone indulges in just such behaviour.

Chapter 7, 1:10:30 Sada urges Kichi to have sex with a 68-year-old woman, who pisses herself at the act's conclusion.

Chapter 8, 1:17:54 Kichi allows Sada to tie a belt around his neck which she tightens as they have sex.

WHAT HAPPENED NEXT In the Realm of the Senses was critically acclaimed when it arrived at the 1976 London Film Festival, where it won the critics' prize. To avoid cuts, the film was shown in cinema clubs and was only first submitted to the BBFC in 1989.

The film was passed uncut for cinemas in 1991 - optical tinkering for that one scene notwithstanding - largely due to the wealth of critical opinion that had built up behind it. This would support a defence of artistic merit if any prosecution under the Obscene Publications Act was sought. (A friend who saw it at the time only said it confirmed her antipathy towards eggs.) Video/DVD release was officially achieved in 2000. (Virgin had released an uncertificated version in 1982 but it was withdrawn in 1984 when the Video Recordings Act became law; it demands BBFC approval for any release.)

Oshima went on to make such films as Merry Christmas Mr Lawrence (1983), starring musicians David Bowie and Ryuichi Sakamoto alongside director Takeshi Kitano, and Empire of Passion (1978), another eroticised telling of a true murder tale, from 1895, about a peasant woman and her younger lover, who conspire to kill the woman's husband. Afterwards they are pursued by his spirit and overcome with guilt.

KEY QUOTE 'Instead of a knife you should be holding something else' - Kichi

BONUS CURIO (1) To avoid prosecution in Japan while shooting, the film was listed as a French production and undeveloped footage shipped to France for processing and editing.

(2) When Oshima struggled to find anyone to play Sada Abe because of the controversial nature of the material his actress wife, Akiko Koyama, offered to take the role.

Anatomy of Hell: Bataille in heaven

DIRECTED BY Catherine Breillat, 2004
STARRING Amira Casar, Rocco Siffredi
CERTIFICATION 18: Contains strong sexual detail and strobing effects
RUN TIME 77 mins approx, Tartan
LANGUAGE French

COVERLINE 'WARNING: THIS FILM CONTAINS SCENES WHICH MAY OFFEND' (IN CAPITAL LETTERS)

WHY YOU SHOULD WATCH IT Director Catherine Breillat started writing explicit novels at the age of 17 (L'homme facile); in 1999, she cast porn star Rocco Siffredi in his first mainstream film. Romance tells the story of a young woman teacher who, unhappy in her relationship, meets a man (Siffredi) with whom she explores ever more extreme sexual experiences. In the succeeding years Breillat directed such well-received, provocative, fare as A ma soeur (2001) and Sex is Comedy (2002). After a gap of five years, this is her return to working with Siffredi in a role she wrote specially for him, based on her novel Pornocratie.

THE PLOT A man goes down on another man outside a gay club. Inside, 'the woman', as she is referred to, is approached by a man but brushes him off; she goes to the toilet, bumping into another man on the way (Siffredi). In the toilet, 'the woman' slits her left wrist with a razor; 'the man' finds her and takes her to a pharmacy. Afterwards she goes down on him in the street; she makes him a work proposition: he is to come and visit her in her home and watch her explore herself sexually.

The proposal takes place over four nights and, from initial observer, he is soon drawn into sex with her and stays until morning. On the last day he accepts payment from her and leaves her wallowing in her own waste, he says. In a bar, he shares his woes with another drinker. When 'the man' returns to the house he finds it deserted and the bed dismantled. He pictures himself pushing the woman off the cliff into the sea.

THE FILM A stern, written notice at the beginning of Anatomy of Hell says: 'A film is an illusion, not reality-fiction or a happening. It is a true work of fiction. For the actress's most intimate scenes, a body double was used. It's not her body, it's an extension of a fictional character.' Presumably this was placed at the request of the actress, Amira Casar, but it provokes a host of questions, not least why Breillat didn't use an actress who was willing to appear without a body double.

The scenes are extremely intimate but the owner of the female genitalia shown in close-up (having a finger inserted or expelling objects; more of that later) is named: Pauline Hunt (unless this is some form of rhyming slang). These may not be Casar's bits, but they nevertheless belong to someone, and Breillat has taken a decision to show them unflinchingly.

There's no such coyness about Siffredi, whose erect penis is shown several times; a seasoned porn star, his inclusion is also nonetheless initially puzzling. His character is gay so you might assume there would be little sexual activity between them that requires Siffredi's experience to come into play. 'The man's' sexuality is never referred to directly, 'the woman' uses such euphemisms as 'you people' or simply the plural 'you'.

Despite its voyeuristic premise, Anatomy of Hell is a very talky movie, perhaps predictably for a novelist. The characters speak in sweeping statements and many of them feature male stereotypes of women, as well as straight women's stereotypes of gay men ('People like you don't look at women,' she says early on). The man is horrified by women's bodies: their colour, the lips, the form, sweat; he compares shaved skin to that of a plucked chicken and, even less favourably, to a frog.

The first night he visits her, wearing a white suit, he complains about the cost - for which he will be recompensed - of visiting her isolated coastal home. The bedroom set where most of the action takes place reminds me of something from a sketch by Paula Rego or de Chirico; the raging sea outside is pure Hitchcock or Pandora and the Flying Dutchman. 'Why do you exhibit yourself this way?' he asks. 'The fragility of female flesh inspires disgust or brutality,' she opines in (a form of) response.

Breillat provides a voice-over to the film that elides into 'the man's' point of view. There are two scenes of childhood, strongly influenced by Georges Bataille: in the first, a boy climbs a tree to feed worms to some freshly hatched birds, which later remind him of the flesh and look of a vagina in its nest. The boy carefully places one of the chicks in his shirt pocket but on the climb back down it is is killed; he throws it on the ground and stamps on it. In the second memory, a young girl strips and lies down in exactly the pose from Marcel Duchamp's Etant donnés; the boys with her insert the arm of some spectacles into her vagina and pull it out bearing her 'slime', as 'the man' sees it.

Over the course of their transaction, the couple's relationship changes: when he arrives the second night, she has dressed up, in black, from the previous white, and done her hair, though he immediately strips her and undoes her hairclip (the red of the room prefigures her menstruation; he wears a cross); on the third night he finds the house unlocked and is protective ('Anyone could have come in').

After the couple have sex for the final time, 'the man's' penis is covered in blood when he withdraws. It is so bloody, the scene is reminiscent of the male dismemberment in Oshima's In the Realm of the Senses. While it seems like an emasculation, a drawing together of both of them, the couple discuss the significance of the blood: 'Man can't give life,' he says; 'He gives death and so gives eternal life,' she responds.

'The man' goes to a bar and gets drunk; he has a discussion about the relationship that is a parody of heterosexual male conversations: She's a slut, the Queen of Sluts. Hump as many as you can, replies his drinking partner, like goats. In the age-old fantasy, the right sex has seemingly set him straight. Back at the deserted house, the only trace he finds of their relationship is a folded, blood-stained sheet, as if 'the woman' knew 'the man' would be back, and has left him this memento.

KEY SCENES Chapter 6 27:31 'The man' puts his finger in 'the woman's vagina (shown in detail) before removing it and examining the traces on his digit. She gets the giggles.
Chapter 8 33:15 As 'the woman' sleeps, 'the man' parts her thighs from behind and paints first her labia (lips) and then her anus with a lipstick, creating a gaudy mouth, before applying it to her face.
Chapter 9, 35:24 Again, as she lies apparently asleep, he has sex with her from behind.
Chapter 11, 46:40 'The man' goes to the garden and chooses a three-pronged wooden rake. When he returns to the room, he inserts its handle between the legs of the sleeping woman.
Chapter 12, 52:56 'The woman' pulls a tampon out of her vagina. She dangles it like a dead mouse, then drops it into a glass of water like a teabag. The man and woman drink from the glass.
Chapter 13, 58:58 'The woman' pushes a stone dildo out from her vagina (this is shown in close up). 'The man' wanks her with it before they have sex.

WHAT HAPPENED NEXT Breillat's latest films are less explicit but no less powerful: The Last Mistress (2007) features the wonderful Asia Argento (and includes Casar in the cast), and there have been two fairytale adaptations, reminiscent of the work of Angela Carter, Bluebeard (2009) and Sleeping Beauty (2010). Siffredi has returned to porn, where he is prolific, notably in his own 'Animal Trainer' and 'Puppet Master' series.

KEY QUOTE 'You talk too much' - 'The man'

BONUS CURIO (or, A Brush with Nipples Pt II) As has happened elsewhere, Casar's appearance undergoes slight changes for Anatomy of Hell's DVD cover image in different territories, from having a breast exposed (below, as it is in the relevant scene in the film) to being covered with a nightdress (top). My, UK, version has her naked, but with a nipple airbrushed away, unnervingly.

Import Export: Human traffic

DIRECTED BY Ulrich Seidl, 2007

STARRING Ekateryna Rak (Olga), Paul Hoffman (Pauli), Michael Thomas (Michi)

CERTIFICATION 18: Contains strong real sex and very strong language

RUN TIME 135 mins approx, Trinity

LANGUAGE German, Russian & Slovakian

COVER QUOTE 'Jaw-dropping… This extraordinary film makes everything else around look comfy and pedestrian' - Peter Bradshaw, The Guardian

WHY YOU SHOULD WATCH IT An unsentimental drama contrasting economic prospects for central Europeans a generation after the end of the Cold War.

THE PLOT Olga, an underpaid children's nurse in the Ukraine, tries to supplement her wage in the online porn industry. Pauli, a Viennese security guard, loses his job after he's assaulted by a group of young men and has to turn to his step-father, Michi, for help finding work. Olga moves to Austria, where she goes through a series of jobs, including an unpleasant period as a nanny; when she finds work as a hospital cleaner, Olga is tormented by one of the nurses after she starts to befriend and care for some of the patients. Pauli ends up distributing gaming machines in the former Yugoslavia with Michi; Michi chats up women in front of his step-son and tries to have sex with a prostitute with Pauli watching. Pauli leaves in disgust; at first he tries to find a job at the local market, then he starts hitchhiking.

THE FILM There is no sex in Import Export, despite the blandishments of the certification, but other forms of sexual activity reduced to the status of financial transaction. The female protagonists of Import Export are made to display themselves for male clients, while responding to their every command.

Austrian Ulrich Seidl can afford to be unsentimental in Import Export; Olga gets the giggles when her friend Tatjana gives her a crib sheet of useful German phrases when working on the web. The framing of the scenes is reminiscent of Roy Andersson's You, the Living, which features some very funny sex scenes with a skinny, older man and a large woman, but there's none of that humour here.

Olga and her 'western' counterpart, Pauli, suffer contrasting humiliations: Olga has to put up with the barked instructions of a viewer she doesn't understand ('Nearer, finger, ass!' some of his single-word demands); Pauli is stripped near-naked by a gang in the basement car park of the shopping mall where he works (it is implied that his assaulters are not native Austrians). Later, a prostitute is led like a dog and forced to bark by Pauli's step-father with less ceremony than she's asked to have sex with both men.

In Austria, a woman undergoes a humiliating mock job interview, though she emerges triumphant, to the viewer's pleasure; Olga has to learn how to brush the teeth of stuffed dead animals for another job. She is afforded no personal space, as her compatriots are forced to expose their every orifice. Despite being bullied at the hospital where she finally finds cleaning work, she achieves some camaraderie with her colleagues; Pauli finds he is best off alone.

KEY SCENES Chapter 5, 18:30; 22:58 Olga visits her friend Tatjana, an internet sex worker. Olga watches women playing with themselves on camera at the beck of German-language subscribers.

Chapter 24, 1:49:20 Pauli walks into Michi's hotel room in Slovakia to find a semi-naked prostitute crouched on all fours on the floor. Michi is still fully dressed, including wearing his winter sports jacket. Pauli wants to borrow money from his step-father but Michi insists that they both have sex with the woman; finding no other way out of the situation, Pauli encourages Michi to have sex with her, which his step-father fails to do.

FURTHER VIEWING At around the same time as Import Export, Belgium's wonderful Dardenne brothers tackled the brutal trade of human trafficking from eastern Europe in The Silence of Lorna (2008) but both they and Ulrich Seidl were preempted by Lucas Moodysson. The Swede's Lilya 4-Ever (2002) is a pure-black depiction of the trade starring Oksana Akinsjina as Lilja, who says she is 16.

Lilja is deserted in an unnamed former Soviet Union country when her mother leaves for the United States with a new boyfriend. Lilja leaves school and is thrown out of her flat by an aunt, who relocates her to a dirty, decrepit apartment that's recently been vacated when its occupant, an old man, died. The flat is in the state he left it, she's told; her only friend is a boy, Volodya (Artyom Bogucharsky), who plays basketball with any rubbish he can find and sniffs glue. 'I must get out of here,' Lilja says. 'Anything but this.'

When the electricity is cut off, and with her money running out, Lilja begins to dabble in prostitution, picking up clients at a club she was introduced to by a friend who wanted to make extra pocket money (Lilja's aunt tells her: 'Do what your mother did: go into town and spread your legs'). Lilja is shown some kindness by a young man, Andrei, who promises to take her to Sweden; she goes ahead, alone, is raped by Andrei's contact, and forced into prostitution.

Moodysson is circumspect in showing the sexual crimes inflicted on her (a series of men's faces at the same party shot from her point of view, for instance). Left behind, Volodya, kills himself; when Lilja intends to commit suicide, Volodya's spirit comes (wearing angels' wings) and beseeches Lilja not to do the same ('This life is the only one you've got,' he pleads) but she does so anyway.

At every point, when you think things can't get worse, Lilja's life plumbs further depths (her mother writes to social services from the United States, trying to revoke her guardianship, adding that her daughter was never wanted). The film is a tour de force, notable for stand-out performances from its two, young, leads.

KEY QUOTE 'I can hire you and fire you, that's how it is in this country' - One of Olga's Austrian employers

Baise-Moi: Grrls with guns

DIRECTED BY Virginie Despentes, Coralie Trinh Thi, 2000
STARRING Karen Lancaume as Karen Bach (Nadine), Raffaëla Anderson (Manu)
CERTIFICATION 18: Frequent/very strong language, sex/nudity and violence. Some hard drugs use
RUN TIME 73 mins approx, Universal
LANGUAGE French

COVER QUOTE 'The most extreme thriller you'll ever see legally' - Uncut

WHY YOU SHOULD WATCH IT A censor's worst nightmare: sex and violence. Based on a 1994 novel by Virginie Despentes, who worked as a prostitute after she was raped aged 17; co-director Coralie Trinh Thi was a porn actress, as were the film's two stars.

THE PLOT Manu and a friend are picked up by three men and raped in a warehouse; later she fights with her brother and shoots him dead. Nadine, a prostitute, falls out with her flatmate and apparently kills her; Nadine goes to join her fixer friend Vincent but sees him shot and killed. Manu and Nadine run into each other by chance and agree to drive to Paris together; Manu forces Nadine at gunpoint to take them to the coast.

In the morning they agree to join forces and embark on an unpremeditated killing spree. Their targets include: a woman at a cash till who they mug; a man (who they kick to death) who picks them up but refuses to have sex without a condom; two policemen, and the entire clientele of a 'fuck club'. They stay in hotels and pull random men for sex while a major hunt is underway for them. At a roadside café, Manu is killed; Nadine rescues her body and sets fire to it. The next morning Nadine intends to kill herself but is caught by the police.

THE FILM The theft by a boiler repairman (that's not a euphemism) of a few of my DVDs more than a year ago was the partial inspiration for this blog. I immediately spotted that one of the films he had taken was Julio Medem's excellent Sex and Lucía, but it was only recently that I realised another of the DVDs he lifted was Baise-Moi, and this became the catalyst for me to finally get writing.

There's a lot in Baise-Moi to get worked up about: the rape, the mindless violence, the close-up shots of genitalia... But it's not as offensive as Gaspar Noé's Irreversible, say, and in its madcap, freewheeling way, is almost likeable. Widely portrayed as Thelma and Louise with guns - and full-on sex, and drink, and drugs, and no morality, and little sense of its own structure - it's hard to be truly offended by this film. That's not to say you won't be shocked.

Baise-Moi isn't the first time hardcore actors have been cast in a 'mainstream' (in the sense that dsitributors hoped it would be shown in general city-centre or, at least, art-house, cinemas) film: Catherine Breillat cast Rocco Siffredi in Romance (1999), for instance, and has used him since; Steven Soderbergh had Sasha Grey as the lead in his strangely asexual 2009 movie, The Girlfriend Experience. But here, the main artistic core of the movie seems to have been taken over by practioners from the porn industry: Trinh Thi, Lancaume, Anderson... What seemed to inflame matters further was that they were all women. These girls were doing it for themselves.

One neat little gag (the only one) comes when Nadine recognises Manu from porn films. Manu assumes that Nadine must have been forced to watch them with a boyfriend but, as we're shown early in the film, Nadine is happy to enjoy them on her own. (The glimpse we see implies that she watches violent porn.)

When Nadine visits a client, the film playing in his room, which she's more interested in than his promise to make her come, is Gaspar Noé's Seul Contre Tous (1998). Noé is thanked at the end of the film and his filmic philosophy serves as some sort of inspiration for Baise-Moi: his is an almost nihilist cinema of style over substance, despair over hope, degradation over ambition and shock over awe. One clip Despentes and Trinh Thi show from Seul Contre Tous exemplifies the level all three directors, including Noé, are working at: his butcher hero slicing a sausage.

At one moment in Baise-Moi, Manu kills a man who crudely tries to pick her up in the street but the violence is not simply meted out to men who cross the line. Women are dispatched with even less care as there is no reason to kill them; 'Where are the lines?' complains Manu, mourning the James Bond aspect of murder we've all become inured to in big-screen action movies. 'People are dying, the dialogue has to be up to it.'

In one scene Nadine poses like Luc Besson's Nikita with the latest addition to her artillery, CD Walkman incongruously hooked in her pants. (Nor do the men always get what's coming to them: a man who they've brought back for a foursome with his friend is simply told to leave their room, and does so. Another man, though, who tries to chat Nadine up with a gun to his head, may think he's worked his charm but is in for a surprise.)

Baise-Moi is not a very good film (Anderson tries too hard, though Lancaume is a strong, natural presence) but, you'll have gathered, I have a soft spot for it. When it was attacked as pornography, its directors and stars defended it by saying it was not meant to turn viewers on, a naturally reductive argument that's often used with deeply sexual material.

While the two leads of 9 Songs are actors and were hired for that reason, there's an emotional honesty there that lifts it above pornography; Baise-Moi is adrenalised caper, which its creators likened to comics, so the inclusion of graphic sex is questionable, if defensible. Whether any of its scenes work on the level of arousal, is up to you.

KEY SCENES Chapter 6, 33:50 Nadine and Manu decide to get wasted and pull two men in a bar. They go up to their room for sex; the women watch each other critically, admiringly. When one of the men says he'd like to see the women go down each other he's thrown out.

Chapter 8, 50:42 At a seaside hotel, Nadine pulls the desk clerk, they masturbate in front of each other before she gives him a blow job. Meanwhile, Manu heads out on the town and meets a man in a bar; in what's a favourite move, she pulls out the crotch of her tights and they have sex.

WHAT HAPPENED NEXT Baise-Moi was given a 16 rating in France on its release but the courts overthrew this, following a campaign largely instigated by right-wing pressure group Promouvoir. An initial ban, the first of its kind for 28 years in the country, was rescinded and replaced with an X certificate, restricting the film to being screened in porn cinemas. A campaign that included Claire Denis and Jean-Luc Godard saw the 18 certificate reintroduced and the film could finally be shown in salles.

Elsewhere in the world, its route to public screening was even more fraught: the film was pulled from screens in Australia after it had been showing for a month provoking a run on art-house cinemas (police were even called to one venue in Sydney) and banned in some 22 other countries. In Britain, Baise-Moi was awarded an 18 certificate following 10 seconds of cuts in the rape scene; a further 12 seconds were cut for the video release of a gun being inserted into a man's anus before being fired.

Lancaume killed herself in 2005, a week after her 32nd birthday.

KEY QUOTE 'Weird we should meet like that, huh?' - Manu

BONUS CURIO Advertising posters for the film were banned by London Underground for fear of upsetting French tourists: the title, Baise-Moi, translates as 'Fuck me'. (Some territories have it as the extremely unpleasant, 'Rape Me'.)