Represents one of the most honest and unvarnished looks at the harsh side of being a teenager since Todd Solondz's Welcome to the Dollhouse.
Fat Girl (2001)
Tomatometer
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Reviews Counted:82
Fresh:59
Rotten:23
Average Rating:6.3/10
Consensus: The controversial Fat Girl is an unflinchingly harsh but powerful look at female adolescence.
Theatrical Release:Oct 10, 2001 Limited
Synopsis: Take two very naive, very young French girls--one a thin 15-year-old, Elena (Roxane Mesquida), and the other her fat 12-year-old sister, Anaïs (Anaïs Reboux). Picture them as lambs. Add a... Take two very naive, very young French girls--one a thin 15-year-old, Elena (Roxane Mesquida), and the other her fat 12-year-old sister, Anaïs (Anaïs Reboux). Picture them as lambs. Add a manipulative older Italian boy, Fernando (Libero De Rienzo). Picture him as the wolf. Witness from close range as the one of the lambs (the thin one) is devoured by the wolf as the other lamb (the fat one) watches in pain but does nothing. The result is FAT GIRL, Catherine Breillat's intense, perplexing, suffocating, grim, terrifying, sickening, dark, plotting depiction of teenage loss of innocence. "Sinister" is what the Italian boy calls what he does to the French girl. "Proof of love" is how the thin girl justifies it. The fat girl, Anaïs, responds by sitting on the beach in her new dress and letting the surf wash up on her as she softly sings sad songs about boredom and death. Later, staring into the mirror, alone together, eye to eye, cheek to cheek, unblinking, the fat and thin sisters calmly share their most hateful feelings for each other. But nothing prepares the viewer for the final blow of the film, which sneaks up with a ferocity that pales the wolf-lamb scenario. Not a pretty picture, Breillat's shockingly realistic work features a fruity color scheme and an optimistic soundtrack that perfects the film's intended confusion of mood and message. [More]
Starring: Anaïs Reboux, Roxane Mesquida, Libero de Rienzo, Arsinee Khanjian
Starring: Anaïs Reboux, Roxane Mesquida, Libero de Rienzo, Arsinee Khanjian, Romain Goupil, Laura Betti, Albert Goldberg, Mark Barriere
Director: Catherine Breillat
Director: Catherine Breillat
Screenwriter: Catherine Breillat
Producer: Jean Francois Lepetit
Studio: Cowboy Pictures
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Reviews for Fat Girl
Get over the numb shock that accompanies the end credits, give yourself some distance from it and you may actually appreciate the complex machinations behind Breillat's brave, troubled work.
Bullies us into feeling shock and horror by utilizing a perverse touch that ultimately exploits instead of explaining.
Examines the world of budding female sexuality with a psychological precision that cuts to the core.
Few movies have so effectively conveyed the alienation of adolescence, and the way children can be driven almost mad by their separation from life and love.
There is a jolting surprise in discovering that this film has free will, and can end as it wants, and that its director can make her point, however brutally.
Whether in anger or in awe, or some combination thereof, it will knock you for a loop.
Though more humane in tone than much of Breillat's work, A Ma Soeur! still digs deeply into some ugly corners of human sexuality, with devastating results.
Not a fun night out at the movies, but it has the weight of the broken wall, the burning roof and tower of personal violation and the rites of womanhood.
For French filmmaker Catherine Breillat, relations between men and women are as dangerous as a minefield, and she observes them with a rigorous detachment tempered by a reticent compassion and flashes of spiky humor.
The ending kind of ruined the film for me. Yet this astounding misstep cannot erase the insightful and courageous work that comes before it.
Tough, pitiless and maybe more than some audiences will be able to bear, but brilliant all the same.
An unflinching, remarkably honest filmmaker has given us a terrifying glimpse into some misadventures of the mind and the flesh you won't soon forget.
The sex in Fat Girl is ... an all-consuming, character-defining process of sorting through emotions and attitudes that convincingly perplexes these girls.
Draws out the tensions and the competitiveness between the two adolescent sisters but steps over the line with a shocking and gratuitously violent finale.
Fat Girl's final third represents such a bizarre shift in tone that, at first, it feels capricious. But Breillat carefully seeds what comes before it with subtle clues of what is to come.
A frank and startling feature that is hard to stomach but harder still to forget.
| Tomatometer Percentage | Movie |
|---|---|
| 77% 77% | The Hangover |
| 88% 88% | Inglourious Basterds |
| 66% 66% | Public Enemies |
| 24% 24% | G-Force |
| 44% 44% | Night at the Museum: B… |
| Tomatometer Percentage | Movie |
|---|---|
| 90% 90% | District 9 |
| 86% 86% | 500 Days of Summer |
| 63% 63% | Extract |
| 06% 06% | All About Steve |
| 78% 78% | It Might Get Loud |
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