À ma soeur !

This is a film that is difficult to say you "liked." It gives a view of the different facets of cruelty. Anais (the "Fat Girl" of the title) is buffeted with cruelty and indifference at every turn--that directed toward her and that she witnesses. Her corpulence is both an attempt to insulate herself against these assaults but at the same time, indicative of her internalization of them. But ultimately, the film is similarly an assault on the viewer, be warned. It stings.

Somehow this film picked up the English title 'A Fat Girl'. How inappropriate, I thought, because for most of the film, the romance of the elder, more attractive sister takes center-stage. It is only at the end, after some horrible things have happened, that it becomes clear that the film has been leading us to understand the fat sister Anais's strange reaction to what happened to her. I have read criticism of the violence late in the film, as not having flowed out of what has gone before. Such criticism misses the point of the movie, I think, which is about the contrast between Anais's first sexual experience and the lovely Elena's, and Anais's acceptance of rape as being preferable to being in love with the boy, as Elena had been, when we and Anais watched Elena's first intercourse.

I thought the acting in this film wonderful, and Anais Reboux, as the fat girl is an outstanding find. This is a touching film, with real characters with whom to empathize, especially the two girls, both young and romantic, one with a saving touch of cynicism.

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.

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.

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."