Fat Girl (2001) - Review and Analysis by Jason Pitt for Critical-Film.com

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Fat girl (2001) A film review by Jason Pitt For Critical-film.com   My collection of Criterion DVD releases seems to keep growing, and I never seem to dedicate the time to watching the films. I had some free time earlier this afternoon, so I decided to give “Fat Girl” a viewing. As I have so many Criterion DVDs, you can expect a number more reviews in the near future, of films which were considered important or substantial enough to be included in Criterion's elite collection.   The ‘Fat Girl' of the title is young Anais. In her early teens, she watches her sister, Elena, who is only a year or two older than Anais, socialize with boys, etc. She teases her sister about being a slut, yet it is clear she is jealous. After Elena meets a young college boy named Fernando, who says all the right things, Elena is convinced she is in love. Anais witnesses her sister's corruption as their relationship develops.   “Fat Girl” is a film which is distinctly foreign. It carries a particular style which is not present in many American films. Director Catherine Breillat uses a number of extended shots, both static and motion shots, throughout the film. These scenes can last a number of minutes without a cut. It is quite impressive, especially considering the age of some of the actors, in particular Anais Reboux, who was only 13 at the time of production. The film is also very foreign in its subject matter. The corruption of one sisters innocence, by a sweet talking male, has been dealt with many times, yet in this particular example is seen through the eyes of a 13 year old girl. A 13 year old girl, who scolds her sister for her actions, yet secretly wishes she was more like her older sister.   Breillat doesn't shy away from the sexual aspect of the film, as all three leads are portrayed nude on film. Keep in mind, Anais was only 13 when this film was made. The scenes between Elena and Fernando are very physically revealing, yet never graphic. Both leads are seen before the act of sex, Elena lying naked on her bed, Fernando applying a condom. This is certainly the most graphic depiction of a male penis I have seen in any film to date. The camera slowly moves out of position as the act begins, or cuts to Anais face, as she listens from her bed. These scenes are directed very well, and well performed by the actors, as I would imagine it would be a very uncomfortable situation.   The films third act, changes tone slightly yet leads to a climax which is both a drastic change of tone from the rest of the film, yet a satisfying conclusion to the film. The climax is incredibly shocking, and disturbing. It serves to punctuate not so much the film, but the character of Anais, revealing an incredibly unsettling facet of her personality. It is difficult to watch, and will kick you in the balls (or stomach, for you ladies out there), but it is a very effective and controversial way to end the film.   While I can't recommend “Fat Girl” to the general populace, as it is distinctly foreign, deals with some strong sexual content, and ends in a fashion that will likely shock and offend most, I can recommend it to those who are not afraid of the potential of the foreign film. Foreign films deal with subject matter that may be considered off limits within the Hollywood production system, and this is exactly why it should be seen. It is unlike anything you've ever seen, and while not a perfect film, it is well made, and emotionally powerful. A worthy addition to the Criterion Collection.   (Four stars)   This review was provided in HTML format, as your browser is not capable of displaying flash content. To experience Critical-Film.com the way it was meant to be seen, please download the flash player from <a href="http://www.adobe.com/shockwave/download/download.cgi?P1_Prod_Version=ShockwaveFlash&promoid=BIOW">Macromedia</a>.