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The controversial Fat Girl is an unflinchingly harsh but powerful look at female adolescence. Read critic reviews
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Anaïs is twelve and bears the weight of the world on her shoulders. She watches her older sister, Elena, whom she both loves and hates. Elena is fifteen and devilishly beautiful. Neither more futile, nor more stupid than her younger sister, she cannot understand that she is merely an object of desire. And, as such, she can only be taken. Or had. Indeed, this is the subject: a girl's loss of virginity. And, that summer, it opens a door to tragedy.
Immagine e Cinema, Centre National de la Cinematographie, arte France Cinéma, Canal+, Urania Pictures S.r.l., CB (Catherine Breillat) Films, Flach Film
Dolby Stereo, Dolby Digital, Dolby A, Surround, Dolby SR
Anne Dunsford-Varenne
Costume Designer
Dominique Colladant
Special Makeup Effects Artist
Michaël Weill
First Assistant Director
While hardly enamored with Fat Girl, I was fine with it until its conclusion.
[Features a] shocking, ambiguous ending.
December 30, 2006 | Rating: 2/5 | Full Review…
March 10, 2003 | Rating: 1.5/5 | Full Review…
Bold but unrelenting in its depiction of both physical and emotional aggression, Fat Girl will be bracing for those open to its challenges and brutal for those who aren't.
February 24, 2003 | Rating: 4/5 | Full Review…
A strange, discomfiting and fascinating film about the horrors of adolescence.
From its tranquil beginning to its shocking finish, Fat Girl shows Breillat to be a world-class artist working at the top of her form -- even when the lessons of gender, sexuality and social custom may be hard to swallow.
Far from being a mere provocateur (although she certainly is one), Breillat shines a light on the way everyday sexism degrades all concerned.
I first saw this movie when I was 13 years old and it made me want to take a vow of celibacy. It is brutal and if seen at a formative age, inescapable.
Like Breillat's debut feature ("A Real Young Girl") "Fat Girl" is a masterpiece awaiting inspection by audiences open to its meanings and insightful commentary.
January 1, 2017 | Rating: A+ | Full Review…
One of the most disturbing films I've ever seen.
April 14, 2010 | Rating: 4.5/5 | Full Review…
December 6, 2005 | Rating: 0.5/5 | Full Review…
While hardly enamored with Fat Girl, I was fine with it until its conclusion.
[Features a] shocking, ambiguous ending.
December 30, 2006 | Rating: 2/5 | Full Review…
March 10, 2003 | Rating: 1.5/5 | Full Review…
From its tranquil beginning to its shocking finish, Fat Girl shows Breillat to be a world-class artist working at the top of her form -- even when the lessons of gender, sexuality and social custom may be hard to swallow.
Far from being a mere provocateur (although she certainly is one), Breillat shines a light on the way everyday sexism degrades all concerned.
I first saw this movie when I was 13 years old and it made me want to take a vow of celibacy. It is brutal and if seen at a formative age, inescapable.
Like Breillat's debut feature ("A Real Young Girl") "Fat Girl" is a masterpiece awaiting inspection by audiences open to its meanings and insightful commentary.
January 1, 2017 | Rating: A+ | Full Review…
One of the most disturbing films I've ever seen.
April 14, 2010 | Rating: 4.5/5 | Full Review…
December 6, 2005 | Rating: 0.5/5 | Full Review…
I first saw Fat Girl upon its original US theatrical release in 2001. I left the theater exhilarated. Three years on, I feel I had been fooled.
July 29, 2003 | Rating: 0.5/5 | Full Review…
A strong and bold look at female sexuality during adolescence and also a coming of age story between two sisters. The story revolves around a gorgeous 15 year old sister and her fat 12 year old younger sister. Graphic it's in sexuality and brutally honest, the story is quite realistic and because of this connects deeply with the audience. A rather shocking and graphic ending is a fitting conclusion for such a hard hitting drama and disturbing film. Another hard watch, but a rather great film that's honest and filmed with passion. You can see the passion in Director Catherine Breillat during the interviews that Criterion has provided in their Supplementary Features on the disc. The film has amazing cinematography and is brilliantly filmed, Recommended!
Adolescent sexuality. It's a theme too sensitive and downright naive to really expose in such a raw, disturbing and depressing light. Yet that's actually what director Catherine Breillat has done in "Fat Girl": A thorough exploration of early sexual awakening, abstract sibling relationships and artificial promiscuity that ultimately leads into disintegration. I really think that with a more light-handed filmmaker, the theme could have been made and executed as a bittersweet tale of gullible love seen through the eyes of a fertile and curious girl. But given that a sensible approach to the issues tackled by the film is much more preferable, "Fat Girl" neglected all of these and instead hovered around its characters with detached apathy. And putting an ambiguous, fantasizing, ennui-stricken female character in its center both as an observant and observed does not just complicate the matter, it also puts the film into a critical extremity. Call it depressing, call it exploitative, but by all means, "Fat Girl" delivered what it has intended to, and also puts into exposition and emphasis those that should have been otherwise. And just like Gaspar Noe's works, the film has displayed uncommon bravery. The film is chiefly about the relationship between 15-year-old Elena (Roxane Mesquida) and her sister Anais (Anais Reboux in a very daring performance). The opening scene, after we heard Anais' haunting song and saw her dead set stare, we are introduced to the relational condition of the siblings. We hear the words 'fat slob' and 'loose morals' hurled at each other devoid of any verbal emotions. They walk shoulder to shoulder through the woods and into the streets but they're of the opposite looks and mindsets. Anais, an overweight girl, states that first-time sex should be with anybody, while Elena, a beautiful 'Lolita-like' teenager, suggests the generalized importance and pleasures of 'sleeping' around with many. It's a conversation captured with such normality and spontaneity that it makes it more disquieting. How did such girls at a tender age know too much and very opinionated about things they shouldn't be hearing about in the first place? Catherine Breillat brings us into an alternate reality of France where it's not all about the elegance of love and romance, but a washed-out place (both in color and moral fiber) where the idea of sex is messy and sudden while the concept of virginity is not about its preservation but to whom it must be lost and why. "Fat Girl" also delves into sexuality to which physical carnality is endlessly fantasized while the context of true love contained within it is superficial at best. As I hear the narcissistic Fernando's (Libero De Rienzo) promises to Elena as he fondles her virginal body, it sickens me. Through that specific sequence, Breillat also gives out a statement about how sweetened, unfulfilled pledges is an easy way 'in' into cheap romances and also the easiest way out. Yet the essence of the sisters' relationship does not start and end on sexual commentaries. We are also compelled to notice the sisters' 'love-hate' connection. One sequence, we see them throw dry insults at each other as if they have a scorned relational void rotten by time. But in the next, they suddenly hug each other. Insult, hate, laugh, laugh, hate, insult. It's their cycle, but is there an absolute? What is the true weather of their bond? "Fat Girl" presented it with such disfigured profundity (highlighted by how Elena and Anais recalled their childhood and how they compare themselves in front of a mirror) that it seems futile to look deep enough and as if both of them locked up the answers and covered it up with their one-bit fantasies. Graphic and at times, emotionally disorienting, this is the antithesis to shallow teenage films talking about 'cute guys' and 'first dates', "Fat Girl" rests upon a dark truth within adolescent existence; 'truth' which do not just come like a gentle revelation, but one bent on shattering the windshields of escapism to present us with certain uncomfortable notions, but those that are ultimately in touch with reality. The film is widely known to have a very 'controversial' and 'shocking' ending. I do not like hype, but "Fat Girl's" final sequence lives up to its notoriety. Quite ironic considering that it's about victory.
Both Anais Rebous, as the titular fat girl, and Roxane Mesquida, as her beautiful sister, give amazing performances; they may not resemble one another, but they have a bonding that is very true to real life, where good and bad feelings towards each other, especially siblings, are often hard to tell apart. The film has a very honest way of looking at relationships at such a vulnerable age, but I still personally couldn't help feel a little distant from the characters.
Those in Ontario will recall that this movie was subject to the condemnation of censors due to shots of underage boobie. Director Breillat used a large black box in order to call attention to the fact that others were making decisions on what you could or could not see. In fact, what the censors may have been protecting the audience from was a good film completely derailed by a ridiculous and unnecessary ending. A director gone wild for sure.
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