| Karen Lancaume | ... | Nadine (as Karen Bach) | |
| Raffaëla Anderson | ... | Manu | |
| Céline Beugnot | ... | Blonde at Billiards | |
| Adama Niane | ... | Boy at Billiards | |
| Christophe Claudy Landry | ... | Guy at Counter | |
| Tewfik Saad | ... | Server | |
| Delphine McCarty | ... | Severine | |
| Ouassini Embarek | ... | Radouan | |
| Patrick Kodjo Topou | ... | Big Thug (as Patrick-Kodjo Topou) | |
| Lisa Marshall | ... | Karla | |
| Hacène Beddrouh | ... | Lakim | |
| Patrick Eudeline | ... | Francis | |
| Ian Scott | ... | Rapist #1 | |
| Philippe Houillez | ... | Rapist #2 | |
| Steven Jhonsson | ... | Rapist #3 | |
| Gil Stuart | ... | Nadine's Client | |
| Alexandre Milord | ... | Receptionist, Hotel Francis | |
| Élodie Chérie | ... | Lady Distributor | |
| Karim Sabaddehine | ... | Big Guy | |
| Titof | ... | Little Guy | |
| Jean-Marc Minéo | ... | Arms Seller | |
| Gábor Rassov | ... | Guy with Hood (as Gabor Rassov) | |
| Marc Barrow | ... | Receptionist, Seaside Hotel | |
| Rodolphe Antrim | ... | The Local | |
| Estelle Isaac | ... | Alice | |
| Hervé P. Gustave | ... | Martin (as H.P.G) | |
| Karim Chala | ... | Big Thug | |
| Simon Nahoum | ... | Big Thug | |
| Marc Rioufol | ... | Architect | |
| Nathalie Dune | ... | BAP | |
| Dany | ... | BAP | |
| Sebastian Barrio | ... | BAP (as Sébastian Barrio) | |
| Pascal Saint-James | ... | BAP (as Pascal St. James) | |
| Jean-Louis Costes | ... | Man in Sex Club (La 'Truie') | |
| Sylvain Cahen-Delabre | ... | Dead Body | |
| Jacques Sans | ... | Dead Body | |
| Didier Gardette | ... | Dead Body |
Directed by | |||
| Virginie Despentes | |||
| Coralie | (co-director) (as Coralie Trinh Thi) | ||
Writing credits(in alphabetical order) | ||
| Coralie | (as Coralie Trinh Thi) | |
| Virginie Despentes | novel | |
| Virginie Despentes | screenplay | |
Produced by | |||
| Dominique Chiron | .... | executive producer | |
| Philippe Godeau | .... | producer | |
Original Music by | |||
| Varou Jan | |||
Cinematography by | |||
| Benoît Chamaillard | |||
Film Editing by | |||
| Aïlo Auguste-Judith | (as Aïlo Auguste) | ||
| Francine Lemaitre | |||
| Véronique Rosa | |||
Casting by | |||
| Jeanne Biras | |||
Art Direction by | |||
| Paul Fayard | |||
| Irène Galitzine | |||
| Christophe Mureau | |||
| Claude Veyset | |||
Costume Design by | |||
| Magali Baret | |||
| Isabelle Fraysse | |||
Makeup Department | |||
| Charlotte Arguillère | .... | special makeup effects artist | |
Second Unit Director or Assistant Director | |||
| Estelle Chailloux | .... | assistant director | |
| Ketal Guenin | .... | assistant director | |
Art Department | |||
| Martin Cognito | .... | poster artist (as Jean-François Chiron) | |
Sound Department | |||
| Eric Boisteau | .... | sound | |
| Pascal Chauvin | .... | sound effects editor | |
| Edouard d'Heucqueville | .... | sound mix technician | |
| Pascal Dedeye | .... | sound effects editor | |
| Jacques Sans | .... | sound | |
Stunts | |||
| Jean-Marc Minéo | .... | stunt coordinator | |
Camera and Electrical Department | |||
| Julien Pamart | .... | second camera operator | |
Music Department | |||
| Varou Jan | .... | musician | |
Thanks | |||
| Vanessa Demouy | .... | thanks | |
| Gaspar Noé | .... | thanks | |
| John B. Root | .... | thanks | |
| Jaco Van Dormael | .... | thanks | |
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| Black Belly of the Tarantula | Thriller: A Cruel Picture | Delirio caldo | What Have You Done to Solange? | Salò, or the 120 Days of Sodom |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Crime section | IMDb France section |
Baise-moi is the second example of the recent French Graphic Rape Wave of cinema. Like a skanky French Natural Born Killers but without the talent, irony or indeed entertainment, the heavy-handed symbolism and maddening acting should have you turning off after the first 40 minutes. You continue to watch however, mainly though a fascination as to how far the director is willing to push the boundaries of good taste in order to convince us of his point. Something to do with society raping people and by-products of the system, a reflection of the perversity at the root of civilisation, monkeys with guns and Girl Power.
Joining the sensational release of Irreversible, with its centrepiece a nine minute rape scene, it could look to some that modern French cinema had found itself in a quandary, desperately seeking its next big theme in the rapidly thinning file of the last taboos. Thankfully, L'Homme du train dispelled those fears,at least for now. And maybe just two films don't make a wave, perhaps just a ripple.
However, nothing changes the fact that when the closing credits finally arrived, I was angry. Because it was rubbish. Not a patch on the glory of La Haine which dealt with a similar rage, but with far more heart and intelligence. Baise-Moi also has the worst soundtrack ever. I've got to stop wasting my life watching all these terrible films.