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
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.
Everyone was right, that ending was brutal. But with the rest of the film behind it, it's entirely perfect.
The ending came out of nowhere. Literally.
bleak / younger voyeur scene kind of like the one in Lost & Delirious with Mouse (Mischa Barton) / identified with Anais / even felt the end was absurd but real
Well, that was troubling.
This review reportedly contains spoilers. I can handle the truth.
- I used to watch arty Euro movies all the time, but I've gotten lazier and less adventurous (and pretentious?) as I've gotten older. I was surprised by how out of sync I felt with the movie. The seduction sequence made me wonder if the guy was a manipulative, entitled sleaze or if he was just European (I went with the former). The driving sequences made me anticipate a horrific car wreck and that made me wonder if Hollywood has just conditioned me that way or if Breillat intended us to anticipate something awful about to happen (I went with the latter).
- For me, the stand out scene was when Anais swam back and forth in the…
Well. That...was an ending.
This was an incredible film, and my first Breillat!
Mon cerveau est en feu .
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- Grand Illusion
- Seven Samurai
- The Lady Vanishes
- The 400 Blows
The entire Criterion collection organized by spine number.
I don't know why I did this.
Number I've Seen: 186/760 (24%)
- Ferris Bueller's Day Off
- Teen Wolf
- The Breakfast Club
- American Pie
[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…