A mia sorella!

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."

Brelliat drives me a little crazy. She is an observer of one small corner of life and seems incidentally a filmmaker. You get different editions of her observations on the distance of young sex across which we throw ropes.

So the question is which is the best and whether each one that follows adds something new, worthwhile.

The best to my mind was "A Real Young Girl" of thirty years ago. It had an honesty that everything subsequently lacks. By this I mean you could feel the filmmaker's emotions quite apart from whatever was happening on screen.

What we have here are two scenes. The first is hugely promising: a pretty girl loses her virginity while witnessed by her much younger sister. Drawn out circling of the boy. Set up in a way that we share in the discomfort as witness and some of the charm of the situation. We are seducer, voyeur, victim.

Brelliat knew this well enough to build a whole different movie about the nature of this voyeurism, "Sex is Comedy." You need to see the two together to get the folding.

The problem with Brelliat is that she has these emotional insights and she can pose scenes. But she has no skill at all in seeing the larger shape of the narrative. She doesn't understand the long form and the structure of a story. Lacking this, we get only scenes, and here we have only two. The second one is brutal, as if the first demanded the second.

The only thing to recommend this is the effect you get from watching the first scene. You quickly realize that because you are watching, you are part of the damage she sketches.

Ted's Evaluation -- 2 of 3: Has some interesting elements.

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.

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.