All the films from all the editions, including those subsequently removed, presently totalling 1167. 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…
Perceptive film about young sexual awakening, self-identity, familial bonds, and then an ending that left me completely chilled and devastated. I think I'll need more time to grapple with it.
A very unforgiving look at a sibling relationship marred by sexual rivalry and pubescent indifference. Despite this, the movie does have some very sweet sisterly moments. It is definitely worth a watch.
A really interesting examination of the sexuality of young girls. Anais is fat ( I don't mean that in a derogatory way) and therefore gets less attention from boys that her older sister Elena, despite that she is much more mature and rational. The cinematography of the film is pretty bare, but script is really fantastic. Almost every scene is painfully realistic. Statutory rape, misinformation about sex, too great an emphasis on virginity; this film treads on territory that lots of films won't, especially with the characters being so young. The story is carried almost entirely through the character's dialogue and I was never bored with it. With a run-time of about an hour and twenty minutes it accomplishes pretty…
that italian dude would be so fucking hot if he wasnt the patriarchy
I just want to make love to this movie.
Ugh. Despite the blatant, excessive button-pushing throughout (less a provocative stirring of debate than the writer/director yelling "LOOK AT ME! LOOK AT ME!"), I could overlook the excess (and the borderline child porn) based on the excellent title performance, no matter how ugly the film is at its centre. That's true right up until the ending, which is filmmaking at its laziest; it would have been no great task to hammer home that ostensibly taboo-breaking (/eye-rolling) final message without introducing a twist so hacky (in multiple senses) that it negates basically the whole film. Ugh.
Breillat provokes as only the French really can. This is a startlingly frank depiction of adolescent sexuality that really doesn't spare anybody. The older man who seduces the older sister is depicted as a liar and a phony who breaks out risible Latin lover talk to convince her to give up her virginity, but she is not depicted as an innocent either. She lures him to her room in the first place in a clear attempt to manipulate him. The graphic sex scenes are almost off-putting in their clinical detachment. The younger, titular sister is depicted as more practical and clear-headed when it comes to sex, only to have her sensible wishes fulfilled in an absurdly violent climax to the film. A powerful, if not exactly enjoyable film.
Power, agency, and (sexual) politics at the French seaside. To misquote Gareth Keenan:
"Two...sisters. I'm just watching."
Breillat's preoccupation with the oppression of women in a man's world is only the second most interesting concept here, taking back seat to the less prominent but effortlessly fleshed-out relationship between Anaïs, the titular "Fat Girl", and her sister Elena. They fight and berate one another for their flaws constantly, but in the brief moments where all the bullshit is behind them, they're sisters, goddammit. When the narrative and theme intertwine, as they do in a heartbreaking scene where Anaïs cries as her sister is borderline raped by a Lothario in their room, the more Brechtian aspects on display highlight a darkness that is nonetheless grounded in empathy.
What's most discussed about this film, though, is probably its shocking (in…
[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…
The entire Criterion collection organized by spine number.
I don't know why I did this.
Number I've Seen: 190/768 (25%)…