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.
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…
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…
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…
The End... what?
Accurately depicts the ratio of time spent existing versus experiencing meaningful connections with others.
The kind of intense, European, idea-centric movie that I enjoy, but don't feel the need to watch again. Feels kind of like a feminist, early Von Trier movie (Breaking the Waves or Dancer in the Dark).
Prickly and often uncomfortable, but it has some important things to say (even if it's occasionally on the nose). It's really unfortunate that Anais Reboux wasn't in any other films. I wrote more about Fat Girl on my blog.
Please excuse me as I crawl into the fetal position and try to cope with everything I've just witnessed.
I found it both lurid AND dull for much of it . . . but good grief that ending.
This is a week of front door films, parade entrance pictures: the movies that serve, for many people, as entry points to a director's style, however little they may resemble their other work. Gus Van Sant's PARANOID PARK, the best American film of the year so far, has just recently ended its theatrical run in the city, so it's appropriate that Block is showing two recent Van Sants—both stylistic precedents—as part of its series of dialogue-light sound films. The earliest, GERRY (2002, 103 min, 35mm; Thursday, 8pm) is the most exotic and therefore the most ordinary. It's easy and interesting photograph a desert, but much harder to find beauty in a school hallway or a messy room. That's the quality…
que filme BRUTAL.
I don't know what to say about this film. It has disturbed me to my very core, that is one thing I can say. A family goes on holiday, which includes two sisters: a conventionally attractive one and an obese one. It's not an easy film to watch as the titular fat girl is ridiculed by her sister and called all kinds of horrible names.
The ending is just absolutely brutal as well. It's an interesting film but not one I'll revisit any time soon.
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…