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2003 Milk Plus Droogies

Best Picture
Kill Bill Vol. I

Best Director
Quentin Tarantino, Kill Bill Vol. I

Best Actor (tie)
Johnny Depp, Pirates of the Caribbean

Best Actor (tie)
Bill Murray, Lost in Translation

Best Actress
Uma Thurman, Kill Bill Vol. I

Best Supporting Actor
David Hyde Pierce, Down With Love

Best Supporting Actress
Miranda Richardson, Spider

Best Screenplay
Sofia Coppola, Lost in Translation

Best Foreign Film
Irreversible

Best Cinematography
Harris Savides, Gerry

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The Blog:
Tuesday, April 30, 2002
 
On popular demand: My review of Baise-moi, written somewhen last October, hastily and badly translated.

„We´re following our lucky star and let the dark half of our souls say what it likes.“ – Two women are on their way through rural France, haunted by the law. Still, it´s a long way from the hip pseudo-feminism of Ridley Scott´s Thelma & Lousie: Where Manu (Raffalea Anderson) and Nadne (Karen Bach) arrive they only leave a trail of blood (and occasionally, sperm) They´re murderous journey can´t be instrumentalized for any ideology trying to reach further than pure provocation. Which is obvious from the title: Baise-moi/Fuck me is the cinematic equivalent of givcing somebody the finger.

In France the plan of the two female directors (Virginie Despentes, Coralie Trinh Thi) worked: Upon release promptly a scandal ensued; ultra-right-wingers demanded censorship;screenings outside of porn theaters were forbidden which alarmed the local film elite. Led by (little surprise there) Catherine Breillat, reputable director from Jean-Luc Godard to Claire Denis expressed solidarity with theatre owners who continued to play the film, legal consequences notwithstanding: “It´s not about defending Baise-moi it´s about liberty as such.” Quite fitting, since Baise-moi is a film about freedom (if only the freedom to be amoral): in its single-minded insistence on being small and ugly, it´s an almost touching endeavour. Barely 80 minutes long, it´s a haphazardly photographed (on garish DV, of course), absent-mindedly edited succesion of (real) hardcore pornography and (phony) violence that just about manages avoiding monotony thanks to its snotty punk spirit. It´s fueled by anger going absolutely, definitely nowhere.

Even more consequent is the decision on part of its makers to talk about their absolute ineptitude in staging scenes – just to segue into quoting John Woo, Quentin Tarantino and Abel Ferrara as important predecessors. While the latter probed the shifty territory between moral and exploitation in 1981´s Ms. 45, Baise-moi is confined to a state of denial that leads into self-destruction via post-modern sensibility: the heroines derive perverse pleasure from executing sympathizers, complain about their badly written dialogue and head towards a resolution whose adherence to convention is the most outrageous aspect of a film dedicated to nothing but effrontery.