If you're feeling overwhelmed, but still want to squeeze a film into your daily routine, this list is made for…
A new provocation from the director of
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 may contain 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…
If American cinema tends to approach subjects dealing with our superficial habits and sexual awakenings in a timid style, "Fat Girl" is an example of how international cinema is more upfront and insightful. This is a brutally honest movie that never compromises. It is at the same time a tale of adolescent sexual experiences, and a portrait of youth trapped by physical appearance. Heartbreaking, darkly comic and featuring a great, twisted crescendo.
WHAT THE FUCK
A very uncomfortable and provocative film. My memories of it are almost too engrossed to be able to say anything about it.
The relationship between the sisters is at times very touching, though Anaïs' muted observations of Elena's sexual encounters with the awful Italian guy are hard to bear. This film captures the desire and fear in adolescence.
The shocking end to the film culminates with the freeze-frame of Anaïs, and the smooth and confident music. In a film where she has to play second fiddle to her sister and is a marginal figure throughout - is this a moment of triumph?
FUUUUUUUCCCCCKCKCKCKKNKKCCCCCCCCCCCCCCKKKKKK I don't know how to rate this???
MAN, this was fucking brutal.
An excellent exploration into sexuality, and that ending just gave me chills.
What a bizarre film.
I'm not sure if I should give this a 4.5/5 or a 5/5 but wow this movie really felt corrupt. As if this could occur in real life and that's really dark.
Definitely one of the best things I've seen in a while. This has one of the best ending I've seen in a VERY long time too!
The following is a recommendation and short analysis I wrote on the film for my blog.
Catherine Breillat’s Fat Girl is one of the keenest explorations of female sexuality in film that I’ve ever seen, and I think part of that memorable experience results from the subject matter which Breillat chooses to confront and how she goes about doing so.
Fat Girl is about two sisters, Anais (Anais Reboux) who is 13, and her older sister Elena (Roxane Mesquida), who is 15. Anais and Elena can’t stand one another due to behaviors of the other that they are disgusted by. Anais is disgusted by Elena’s sexual activity and conversely, Elena is disgusted by Anais’ weight which consequently makes her perceive…
I don't like using superlatives, but I have to say this might be the most realistic (though obviously not comprehensive, because nothing can be) depiction of a family dynamic I've seen in a film. You can't expect to spend the majority of your waking hours with the same people and expect it to be all positive feelings. And as tempting as it is to say any gripes you might have with your family are less important than your affection for them, it's also not 100% true (even if it's mostly true), because the way you interact with them is moment-to-moment, over a long period of time, and without a clear end in sight.
So, Breillat lets the characters share spaces…
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
101 essential films for Social Justice Warriors. A continually updating list.