All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
A new provocation from the director of "Romance"
Elena is 15, beautiful and flirtatious. Her less confident sister, Anais, is 12, and constantly eats. On holiday, Elena meets a young Italian student who is determined to seduce her. Anais is forced to watch in silence, conspiring with the lovers, but harboring jealousy and similar desires. Their actions, however, have unforeseen tragic consequences for the whole family.
I don't want to mislead anyone who hasn't seen this film as to what it's like. It is a caustic and brutal film that assaults preconceptions of love and seduction in the most Brechtian and painful of ways. It's not a horror film by the strict definitions of genre, but at the very least, it is related to horror. Its grandmother was horror. It's one quarter horror.
But I don't really want to talk about the horror of the film. Or its commentary on the patriarchy. I'd like to talk about Fat Girl's conception of family, something skimmed over in the film sometimes despite the original French title being A Ma Soeur (To My Sister).
The popular Western conception of…
God dam god damn god damn. Here follows an arbitrary review of both Fat Girl and "Flawless," because both are on my mind:
My only complaints* are that this song still contextualizes female power through appearance and uses the term "bitches," which is problematic. Except, of course, Beyonce knows what the fuck she's doing. She's made an anthem. She knows what the best pop songwriters know (no idea if she wrote it; doesn't matter): you make the song about anyone, even when it isn't. So when she sings about being flawless, she's putting words into the mouths of her listeners. The chorus is what they're gonna sing along with most; the verses, with their specific references, allow them to be…
A brutal exploration of sexuality in a patriarchal society.
Sorry, but the ending is perfect.
Feminist filmmaking at its finest.
I was underwhelmed by the fact that the term provocative, which you’ll find often when scrolling through reviews and synopsises of this picture, its applicability stopped at the movie’s title. That’s what I was thinking right up until the final five minutes. Then, holy shit. I won’t spoil things for those who haven’t seen this, but holy shit. For the larger part it’s a very French tale of a teenage girl (played by a beautiful Roxane Mesquida) her sexual awakening over the course of a vacation holiday. I watched it mainly for that reason; I don’t know what it is with me, but films that give attention to sex always seem to interest me. It tickles my fancy I guess.…
I'm a little bit in love with this film, but I'll have to consider the ending some more before a second viewing (hopefully on big screen) can probably maybe vaunt it into Personal Canon status. I will offer some grain-of-salt interpretation, because I'm not sure, but: Breillat is, I think, creating a confusion of thematic coherence on purpose, pulling a very Bunuelian maneuver (the rapist reminds me greatly of the guy from Belle de Jour) to offer, to the viewer (rather than the character, which is what Bunuel does), a choice, as put eloquently in the film's last lines: "don't believe me if you don't want to". This reminded me of the closing line of Alice Munro's "How I…
This review reportedly contains spoilers. I can handle the truth.
Well this is an interesting one. That ending really flips everything on it's head, so much so that I've been thinking and reading a lot about this for a while before even writing a word here. I've heard a lot about director Catherine Breillat before this, that she's provocative and unflinching with her films, and that's definitely proved true with Fat Girl.
Ostensibly the film is about the sexual awakening of two young teenage sisters away on vacation. Elena is slightly older and the more physically attractive of the two, while her sister Anais (the titular "fat girl") is the complete opposite, overweight and insecure. At times they're at each others throats and at others they're sharing a bond only…
I wish I could un-see this film. It's amazing, but it still gives me the shivers.
In Catherine Breillat's usually sadistic world, she showcases and analyzes sexuality without any sort of moral filter. The title character of "Fat Girl" is a figure who voyeuristically watches as her older (and socially-deemed more beautiful) sister slowly blooms into discovering and searching for ownership to her own sexuality. Breillat literally makes us the fat girl. What comes off as very taboo and seemingly disturbing on paper, comes off even more severely taboo and disturbing on celluloid. The way these sisters are presented as discovering who and how they feel about their erotic desires as girls-becoming-women slowly reaches Cronenberg-light horror in a finale that scars the viewer's retinas without an inch of remorse.
bizarre film, not badly made perhaps but can anyone say they actually enjoy this movie? I think not, the next question being did they take away something? Perhaps they did-I however did not.
Yeah life sucks, we know it. Thank you for this free-violent and awkward as shit reminder.
The Women of November, #8/30.
Not "liking" it not because I didn't engage with it (it's very well-made with two outstanding lead performances), but because it's that sort of under-your-skin filmmaking and intentionally challenging ending that takes a long time to digest, and not in the bowl-me-over way of something like Tarr or Haneke (know it's detrimental to name two men in regards to a film in this project, but they're the closest comparisons I can think of). Ask me in a month or so, I might hate this or love it.
One of the most True films I have seen. Expertly written and directed, giving special care to every single aspect of the characters and settings. The conversations are brutal, funny, upsetting, emotional, and most importantly real. It is an exploration of sexuality, desire, and the body like no other that I have seen. It deserves recognition as one of the best films of this century.
Chilling shades of early Haneke filter through in a brutal film about the blurred lines between liberation and entrapment. It serves as a critique of both male entitlement and the burdensome weight society ascribes to sex. Breillat suggests that to associate sexuality with social hierarchy is ultimately fruitless, as the sexual act accrues meaning through the circumstances under which it is initiated. It is not inherently tied to carnal pleasure, as glossy advertisements and popular media would have you believe. The languid pacing works well here, complementing the ennui felt by the eponymous character, whom we are made to empathise with the most.
Many favorites, as well as a small handful of films that I don't care for... in no particular order (1960-2014).
[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…