105 reviews
For Her Sister
Oddly titled 'Fat Girl' for international release, the ambiguity of the original French title of this Catherine Breillat movie is quite important as the film is equally about two sisters: one conventionally pretty and the other slightly overweight. Roxane Mesquida and Anaïs Reboux share excellent chemistry in the respective roles as a family vacation affords them a chance to indulge in their emerging sexual appetites. At times, the girls are highly competitive with Mesquida expressing contempt for the younger Reboux to look cool in front of an Italian law student they befriend; at other times though, the sisters laugh together and share intimate secrets like lifelong best friends. Some have been critical of the explicit sexual scenes here, however, Breillat keeps them minimal and a distance; indeed, in the moments when Mesquida is intimate with her newfound boyfriend, we hear everything but see nearly nothing as the camera focuses on Reboux's face, pretending to be asleep in the hotel room she shares with her sister. If there is something to hold against the film, it is the meandering second half with a lot of lengthy drives taking up much of the screen time with tension evaporating once Mesquida has gone all the way. An unexpected plot turn in the final ten minutes of the film does, however, ensure that the movie ends on a thought-provoking (if not necessarily satisfying) final note.
Better than expected tale of adolescent sexuality
Directed by the 'controversial' Catherine Breillat (she showed a hard-on in her last movie, 'Romance'), the story revolves around a family on holiday with two adolescent sisters, the chubby 13 year old Anaïs (played by Anaïs Reboux) and the rather more svelte Elena (Roxane Mesquida) who is two years her senior, although rather less mature. Both girls are still virgins, although Elena is clearly aware of the power of her beauty over the opposite sex. Effortlessly she pulls Italian law student Fernando (Libero De Rienzo, with whom she begins an intense relationship. Fernando talks of love, but is obviously keen for sex. Poor Anaïs is unfortunately sharing a room with the pair as they fumble towards a deflowering. Indeed, this is one of the most beguiling scenes in the movie; you feel awkward bearing witness to what is going on - the constant demands of Fernando for 'a demonstration of love', which after refusals brings forth the sorts of coercing phrases regarding anal sex that so many girls must dread to hear.
The animosity is often intense between the sisters, Anaïs' bitterness towards her sister combined with a resigned maturity that only rejection and frustration can breed. But at the same time there are wonderful scenes of the two sharing sisterly moments; albeit with bile never far away. The point is well made, the bond is there, no matter how much of a bitch Elena can be. Anaïs is such a lost, sad character; the melancholic beauty of one scene on the beach where she is singing to herself whilst Elena and Fernando 'make out' is incredible. Also well portrayed is the relationship with the parents. Mother is very much like Elena; Father is a workaholic who hates holidays and returns home before the others. Although the parents are mostly secondary in the story, you sense that they tend to reinforce Anaïs insecurities and knock her down further. This is exemplified in the scene the morning after the first Elena & Fernando night together. Anaïs is clearly really low, crying and choked. Her parents offer zero warmth, the only solace coming from a still caustic Elena shoving bread into her mouth to comfort her.
The story climaxes as the sisters and their mother return home from their holiday, after a gloriously comic scene where Fernando's mother (Laura Betti) visits to reclaim a precious ring that he had given to Elena as an engagement ring. The journey toward home is fantastically shot; the claustrophobia of motorway driving - especially since the mother doesn't like driving, and is pretty p****d at Elena's antics and Anaïs' miserableness - metaphoring the unease between the three, even more so as night wears on and mother becomes more wary of the huge dangerous lorries that she overtakes incautiously on the freeway. If I was an absolute ponce (or totally fearless), I would say these trucks are a metaphor for the male predatory sexuality against the tiny feminine car (which still manages to nimbly overtake at will most of the time). But I'm not (?), so I won't. Anyway, the ending comes as a huge shock. So I'm not going to tell you it. But safe to say you don't leave the cinema with a laugh and a giggle.
Overall, I was actually surprised by how deep this story was; there was only one gratuitous erection, and even that was covered by a condom. A brave attempt to analyse adolescent female sexuality, often leaving an unplesant taste in the mouth, but well worth a go if you're in the mood.
The animosity is often intense between the sisters, Anaïs' bitterness towards her sister combined with a resigned maturity that only rejection and frustration can breed. But at the same time there are wonderful scenes of the two sharing sisterly moments; albeit with bile never far away. The point is well made, the bond is there, no matter how much of a bitch Elena can be. Anaïs is such a lost, sad character; the melancholic beauty of one scene on the beach where she is singing to herself whilst Elena and Fernando 'make out' is incredible. Also well portrayed is the relationship with the parents. Mother is very much like Elena; Father is a workaholic who hates holidays and returns home before the others. Although the parents are mostly secondary in the story, you sense that they tend to reinforce Anaïs insecurities and knock her down further. This is exemplified in the scene the morning after the first Elena & Fernando night together. Anaïs is clearly really low, crying and choked. Her parents offer zero warmth, the only solace coming from a still caustic Elena shoving bread into her mouth to comfort her.
The story climaxes as the sisters and their mother return home from their holiday, after a gloriously comic scene where Fernando's mother (Laura Betti) visits to reclaim a precious ring that he had given to Elena as an engagement ring. The journey toward home is fantastically shot; the claustrophobia of motorway driving - especially since the mother doesn't like driving, and is pretty p****d at Elena's antics and Anaïs' miserableness - metaphoring the unease between the three, even more so as night wears on and mother becomes more wary of the huge dangerous lorries that she overtakes incautiously on the freeway. If I was an absolute ponce (or totally fearless), I would say these trucks are a metaphor for the male predatory sexuality against the tiny feminine car (which still manages to nimbly overtake at will most of the time). But I'm not (?), so I won't. Anyway, the ending comes as a huge shock. So I'm not going to tell you it. But safe to say you don't leave the cinema with a laugh and a giggle.
Overall, I was actually surprised by how deep this story was; there was only one gratuitous erection, and even that was covered by a condom. A brave attempt to analyse adolescent female sexuality, often leaving an unplesant taste in the mouth, but well worth a go if you're in the mood.
- craigboney
- Mar 10, 2002
- Permalink
interpretation: excellent theme, lackluster presentation
Take what you will
At the NY Film Festival's Q&A with Breillat, she expressly forbid seeing "Fat Girl" (as she prefers to call it) as a morality play. She eluded any attempts to draw her into conclusions about her film, insisting that she is not a moralist.
What is clear from the questions she asks, however, is that she views sex with a certain contempt, especially as regards the male role in the act. The men that are in the film are either insensitive, duplicitous or murderous. Breillat's intent is to show how adrift any adolescent girl is when it comes to sexuality and to somehow convey that to an adult audience. She counseled young Anais during filming by saying, "We are making a film that I don't even think you can see when it is done, but it is not for you. It is supposed to scare adults."
What is clear from the questions she asks, however, is that she views sex with a certain contempt, especially as regards the male role in the act. The men that are in the film are either insensitive, duplicitous or murderous. Breillat's intent is to show how adrift any adolescent girl is when it comes to sexuality and to somehow convey that to an adult audience. She counseled young Anais during filming by saying, "We are making a film that I don't even think you can see when it is done, but it is not for you. It is supposed to scare adults."
Fairly good film, but............
Well, I am not sure why director made the decisions she did regarding the last 15 minutes of the film. She seems to have taken a page out of Claude Chabrol's textbook, which may have been a good thing but here it feels rather forced. The film seems to be a "Last Tango in Paris" for teenagers, as a young man from Italy takes up with a French girl who has a love/hate relationship with her fat sister (the title character). As Brando did with Maria Schidner, the Italian guy uses the word 'love' to exploit the girl sexually. The good acting makes the film work, until the part I have qualms. I am not sure the credit fully belongs to the director, but like Larry Clark's "Kids," the result is a profound statement about the cruelty of adolescence. We certainly empathize with the title character, and therefore it is harder to accept certain aspects of this film. The film is one of several French films in recent years with a brutal, pessimistic tone, including "The Dreamlife of Angels" and "demonlover." This film is far better than the director's awful mess "Romance." I can see why some people either really admired or loathed this film. Objectively, no one can take away from the great acting and solid cinematography and for that reason I choose to give it 3 stars as opposed to 2 and a half.
Being deeply unsatisfying is satisfyingly deep
the confusion of a young girl
Black and Bloodless at the Same Time...
- AnnHolway360
- Oct 26, 2006
- Permalink
Should Be Required Viewing in Sex Ed Classes for Young Teens
"Fat Girl" is unrated so probably will never be shown in sex ed classes for 14-year-old girls willing to read the subtitles of a French film. Too bad.
Written and directed by Catherine Breillat, whose other controversial movies about girls and sex I've somehow missed and will now catch up on, the original title of "A ma soeur!" (to, or maybe colloquially for, my sister) makes a lot more sense.
But not since the very scary "Smooth Talk" have I seen the seduction of a pretty teen-ager by a hunky older guy shown so effectively, as this is a whole lot more explicit and sensually realistic in how they interact in a cagey game of alluring naiveté vs. determined persuasion.
Unlike "American Beauty" whose quasi-pedophilia I found disturbing, this is a sophisticated view of the powerful forces unleashed between a guy young enough to be attracted yet old enough to know better, and a girl old enough to be attracted yet young enough not to know better. Is he the banality of evil, an update of Sportin' Life or the snake -- or is he just being a guy? In class, the teacher could stop the tape in the middle of the dialog and action, and say "Whoa, girls, what could you say when he says that? When he does that? When you feel like that?"
And we watch this all played out in a fascinating way, from the viewpoint of, with devastating impact on, her younger, titular sister who has to endure an up close and personal intimacy with them under the noses of oblivious parents.
While the sibling relationship is the anchor, the ending may be a culminating precautionary statement on a very negative view of the battle of the sexes, but no one walking out of the theater was sure.
The Ontario Film Review Board missed the educational point in censoring the film, but I concur that it's a disturbing film.
Listening to Top 40 radio on the way home sure made me suspicious of all those declarations of love pouring out from all those guys.
Coincidentally, I re-saw the Rohmer film "Pauline on the Beach" hours later on IFC and now see that Breillat is making a dark commentary on that classic, both riffing off a 14-year-old on vacation amidst a sexual whirligig; the French may have a different reaction than me.
(originally written 10/27/2001)
Written and directed by Catherine Breillat, whose other controversial movies about girls and sex I've somehow missed and will now catch up on, the original title of "A ma soeur!" (to, or maybe colloquially for, my sister) makes a lot more sense.
But not since the very scary "Smooth Talk" have I seen the seduction of a pretty teen-ager by a hunky older guy shown so effectively, as this is a whole lot more explicit and sensually realistic in how they interact in a cagey game of alluring naiveté vs. determined persuasion.
Unlike "American Beauty" whose quasi-pedophilia I found disturbing, this is a sophisticated view of the powerful forces unleashed between a guy young enough to be attracted yet old enough to know better, and a girl old enough to be attracted yet young enough not to know better. Is he the banality of evil, an update of Sportin' Life or the snake -- or is he just being a guy? In class, the teacher could stop the tape in the middle of the dialog and action, and say "Whoa, girls, what could you say when he says that? When he does that? When you feel like that?"
And we watch this all played out in a fascinating way, from the viewpoint of, with devastating impact on, her younger, titular sister who has to endure an up close and personal intimacy with them under the noses of oblivious parents.
While the sibling relationship is the anchor, the ending may be a culminating precautionary statement on a very negative view of the battle of the sexes, but no one walking out of the theater was sure.
The Ontario Film Review Board missed the educational point in censoring the film, but I concur that it's a disturbing film.
Listening to Top 40 radio on the way home sure made me suspicious of all those declarations of love pouring out from all those guys.
Coincidentally, I re-saw the Rohmer film "Pauline on the Beach" hours later on IFC and now see that Breillat is making a dark commentary on that classic, both riffing off a 14-year-old on vacation amidst a sexual whirligig; the French may have a different reaction than me.
(originally written 10/27/2001)
A ma souer
- JoeytheBrit
- Dec 17, 2006
- Permalink
This is terrible
A polished film from Breillat on her usual themes of sexuality
Director Breillat is back and, as she did with "Romance", pushing the bounds of censorship in an intellectually challenging fashion. The story follows the sexual development of two sisters in their early teens. Their middle class family embody the usual social mores and protective attitudes. Moreover, the story makes us aware of the legal dilemma of under age sex, undertaken as a matter of conscious choice and with proper protection by the 15-year old (older) sister with a boyfriend only a few years her senior (ie the relationship would be legal in Netherlands but not in many countries, including France). These are two fairly "normal" sisters, although the younger one is excessively overweight and only fantasizes about getting a boyfriend. There is some possible interpretation that the 15-year old's psychological development would progress more soundly were she not (initially) fettered by taboos over her own virginity. In one scene, a TV in the background has a Breillat-type character being interviewed and giving her philosophy about the intrinsic nature of sex, how it is something common to us all and that can be understood by anyone, and that we are all alike inasmuch as no-one is perfect. The characters and scenes are painted brilliantly, the sibling rivalry coupled with intense sisterly bonding, the mother driving at night and, as many people will have, with a lack of sleep and so not as perfectly safely as normal. It is the realism and ordinariness of the situations that keep us on the edge of our seats. The dialogue has the realism that suggests youngsters may have suggested some of the lines, with their observations that have the power to startle us out of complacency. The use of actors so young in fairly explicit scenes will be a matter of great concern, but Breillat is serious about her work and convinces us that she is not pandering to sensationalism but raising valid questions about how we effectively handle the challenges presented by precocious adolescents. The film is more polished than Breillat's earlier work and has an unnerving denouement, well-delivered.
- Chris_Docker
- Aug 12, 2001
- Permalink
Food and Sex
- Meganeguard
- Feb 19, 2007
- Permalink
An inhuman film
This film suffers from the skewed view of human nature that infects much of European film, and indeed western culture. The sisters in this film are reduced to their sexual natures. We view them only through their sexual desires, the other aspects of their personalities are glossed over and subsumed into these sexual desires. Many have stated that this film is real, but I have to disagree. I do not think that teenagers are solely the selfish, sexualized beings depicted here. A few are, and their hormones are certainly raging, but they cannot be reduced to their sexuality. This film depicts teenagers the way many western intellectual elites want them to be, not the way they really are. The sisters' natures are one-dimensional.
I Anais' actions and reactions at the end of the film to be totally unrealistic. I cannot imagine a 12 year old girl behaving that way in that situation.
I Anais' actions and reactions at the end of the film to be totally unrealistic. I cannot imagine a 12 year old girl behaving that way in that situation.
I was devastated by this vicious, brilliant film
This film is a necessary act of violation on its viewers. A pure, lethal injection of dramatic suffering which is beautifully rendered but left me feeling devastated by its intensity. Breillat is a director who has already made shock-waves with her last film "Romance". In her latest piece of disturbing cinematic violence, she takes us inside the life of a 13 year old overweight girl inside an average, upper middle-class family. On a holiday away with this family, we experience her exposed difference as her 15 year old sister begins to experiment with sex, often with her young sister a passive spectator. The parents are indifferent creatures, affected mainly by social pressures and appearances. Unaware - or possibly simply disinterested - in their daughters lives, they miss the painful undersides of the two girls forced closeness. Breillat offers more explicit sex, erections, and some extremely gruelling violence. I recommend this film but its intelligence and emotional truth is, necessary.
- Mattydee74
- May 26, 2001
- Permalink
Another Disappointing "Shocker"...
Suddenly, Last Summer
Catherine Breillat's "Fat Girl" (2001) is an astounding movie that provides uncompromising and unblinking look at the relationship between two teenage sisters, and their first sexual experiences. The older sister, 15 years old Elena, has no problems attracting boys' attention and sexual desire and while on the family vacation, she meets an older, more experienced boy, who will say and promise anything to seduce her. There are two long, thorough and uncomfortable scenes of seducing Elena that take place in the girls' bedroom with the younger sister, 12 years old Anais, the fat girl of the title not quite asleep. Breillat remembers well what the hell it is to be a teenager, to be confused, frustrated, to think low of yourself, to be ready to enter the world of sexual relationships, to be ready for love, for intimate closeness and to pretend that you don't care about them at all. She also looks closely and with none a gram of sentimentality into siblings' and parents daughters relationship. The scenes of cruelty and contempt the older sister treats the younger one alternate with rare but poignant moments of tenderness and understanding. Breillat takes us to places we don't go often and we don't want to go but they exist. If you've seen Brellat's movies already, you know that her outlook is not particularly happy, optimistic, or sentimental but "Fat Girl" will shock you as very few movies can. Just when you think that the movie is over and despite the disappointments, embarrassing revelations, and shameless manipulations, live goes on and has so much to offer, Breillat presents you with the final scene that is very difficult to watch and impossible to forget. It does not matter really if the final scene actually took place or was just a fantasy, just the dream projected on the screen.
- Galina_movie_fan
- Nov 19, 2007
- Permalink
unhappy, yet real
It seems to me most the public did not enjoy this particular movie as it is not the kind of movie with a happy or funny ending. This movie comes with a more real-life ending. While this may not be something most the public may wish to see, I was glad to see a film this daring being shown to the public. I believe the film truly shows the unhappy reality of humanity these times and what today's selfish mankind will do to meet certain animalistic needs.
Regards.
Regards.
Awful.
Be careful with what you wish for.
Sex and the fat girl!
In her movies the director does not intend to shock you, but reveals the harsh ugliness of the human condition via the power of sex that leads all to temptation and destruction. In A Ma Soeur! we see the slow torturous disintegration of the title character via the relationships with the elder sibling and parents. On top of that she has the anti-social disease, being FAT. With everything against her, this poor creature endures humiliation right down to the final blow. It's never pretty in a Catherine Breillat movie, but it at least is brutally honest in every way. What hit home for me was the depiction of teenagers and their approach to sex. It reminded me of my puberty phase in life, where sex was seen as a cruel instrument for which to punish with and also to abuse for one's own gratification!
Faces of Death IV: Supercilious French Movie
heterosexuality in a mess
Wrongfooting the viewer
Breillat's movie at first seems to be the sort of French coming of age movie that we've seen 100 times before. The older sister is very much in the mould of Vanessa Paradis or Ludivine Sagnier - perky, pouty, coquettish and not averse to getting naked when it's artistically justified. She gets naked, the viewer gets turned on, then remembers she's only meant to be 15. Confusion, confusion...
Of course, this is clearly not an idyllic, soft-focus loss-of-innocence-on-summer-holiday romp. Breillat's sexual politics come through clearly, as the two main male characters are seen to be obnoxious abusers, exercising their control through sex (the boyfriend) or paternal/capitalist power (the father).
The ending, shocking as it is, is too ambiguous. Presumably the violence is meant to remind us that the other male characters are equally guilty, but in a more socially acceptable way. However, an alternative interpretation is that such real, extreme, sociopathic violence puts the actions of the boyfriend and father into context. Are their behaviours really so bad, when compared with the behaviour of the transgressor in the car park.
So... watch if you want an essay in feminism. Or if you like cute, naked girls. How very postmodern, Catherine.
Of course, this is clearly not an idyllic, soft-focus loss-of-innocence-on-summer-holiday romp. Breillat's sexual politics come through clearly, as the two main male characters are seen to be obnoxious abusers, exercising their control through sex (the boyfriend) or paternal/capitalist power (the father).
The ending, shocking as it is, is too ambiguous. Presumably the violence is meant to remind us that the other male characters are equally guilty, but in a more socially acceptable way. However, an alternative interpretation is that such real, extreme, sociopathic violence puts the actions of the boyfriend and father into context. Are their behaviours really so bad, when compared with the behaviour of the transgressor in the car park.
So... watch if you want an essay in feminism. Or if you like cute, naked girls. How very postmodern, Catherine.
What I learned from this film!