Elena meets Fernando, an Italian law student; he seduces her with promises of love, and the ever-watchful Anaïs bears witness to the corruption of her sister’s innocence. One is the title character, and the other is very explicitly her opposite: she’s slender and very beautiful. coming-of-age tale Lovely Rita and
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At the beginning of Catherine Breillat’s Fat Girl, we meet our protagonists, two French sisters. Get info about new releases, essays and interviews on the Current, Top 10 lists, and sales. I was closer to the age of the characters then and I was judging the film from a much more moralistic perspective, but today I see it differently. While the girls are on vacation with their parents, Anaïs tags along as Elena explores the dreary seaside town.
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For October, the Channel will feature films from Marlon Riggs, Pedro Costa, Barbara Kopple, Jenni Olson, and more! Chloë Sevigny took a step behind the camera with her directorial debut, Kitty, an adaptation of a Paul Bowles story about a shy young girl who finds herself transforming into a cat. In the wake of Bong Joon Ho’s internationally beloved hit, a new Criterion Channel series looks back at the explosion of Korean filmmaking that began at the turn of the millennium. I couldn’t accept that both of the sisters, in their own way, become victims of sex. The original title of my film was always Fat Girl, but since I am French and not at all bilingual, it was for reasons more mysterious than an anglicism.
Her sister, fifteen-year-old Elena, is a beauty.
They are hardened against each other.
This scene strikes me because it shows us how we all behave according to certain patterns. I think in some ways this is a part of our daily lives. FAT GIRL is not only a portrayal of female adolescent sexuality and the complicated bond between siblings but also a shocking assertion by the always controversial Catherine Breillat that violent oppression exists at the core of male-female relations. Twelve-year-old Anaïs is fat. The Criterion Channel is more than just the movies.
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There’s a similar moment in my graduation film, Inter-View (1999), where a heavy-set girl eats ice cream while a very attractive young man tries to tell her that he loves her. In psychoanalysis there’s a concept called the Capgras syndrome, in which a person starts to believe that someone he or she knows well has been kidnapped and replaced by an imposter. It’s our 15-minute-a-month film school, Observations on Film Art, or the Tuesday Short + Feature and the Friday double bill. It’s astonishing.
The question is as good a summation as any of the themes that Hausner has Twelve-year-old Anaïs is fat.
This scene brings us to a level of surrealism that feels revolutionary to me. An Italian guy has met a French girl: we’re in a heaven of eroticism! It’s so rare and unusual for a film to completely turn your perception of reality upside down, to the point that you would believe a dream as much as reality—because reality itself is like a dream. demonstrates the absurdity of ordinary human behavior.
Shattering taboos with her unflinching, often shocking explorations of female sexuality and pleasure, Catherine Breillat emerged as one of the major voices of the New French Extremity, a movement defined by its transgressive focus on the corporeal realms of eroticism and violence. This is precisely what interests me in cinema. I don’t need to see what I’ve seen a hundred times before. USA; CAN; All Films 2261 Results .
French auteur cinema has increasingly been exploring themes of sex through scenarios whose explicitness verges on the pornographic. Jessica Hausner is the director of Lovely Rita, Hotel, Lourdes, Amour fou, and Little Joe. The following interview with director Catherine Breillat was conducted for German television the day after the screening but never broadcast in its entirety. Already in this early scene the sisters are operating at a level of manipulation that is quite advanced. Her sister, fifteen-year-old Elena, is a beauty. French auteur cinema has increasingly been exploring themes of sex through scenarios whose explicitness verges on the pornographic. This program was compiled from behind-the-scenes footage shot during the production of FAT GIRL.
Artificiality is at the heart of my new film, Little Joe, which asks: can we ever be sure that people are who we think they are?
has since moved through an array of styles and genres, from the thriller (Hotel) to the period piece (Amour fou).
From Fat Girl onward, she moved into a very artificial style of filmmaking—you can see it in a movie like Anatomy of Hell—and the further I advance in my own work, the more I think I understand what she’s doing. It shows us the artificial mechanisms by which we live together and interact. In this 2004 interview, director Catherine Breillat discusses her filmmaking methods and the alternate ending to FAT GIRL. Christopher Radcliff and Lauren Wolkstein’s Top, New, restored high-definition digital transfer, with DTS-HD Master Audio soundtrack on the Blu-ray edition, Behind-the-scenes footage from the making of, Two interviews with director Catherine Breillat, one conducted the night after the film’s world premiere at the 2001 Berlin Film Festival, the other a look back at the film’s production and alternate ending, PLUS: A new essay by film scholar Ginette Vincendeau, a 2001 interview with Breillat, and a piece by Breillat on the title. This is Breillat’s only film in the Criterion slate, spine #259. Where before I would have been happy to see anything by Breillat or Jane Campion, both of whom I like, now I can say that I feel a deeper kinship with one over the other. Of course, the little girl was fat, but the title also expressed an autism, a wall between her and the world that the foreign language reinforced. Later on, there are moments where we aren’t sure if what we’re seeing is actually happening. Joe, the first English-language film by Austrian director Jessica Hausner.
what we call “nature,” mining dark, often morbid humor from the unreliability Unrelated. Then the beautiful girl takes her place next to the man, and during their encounter they exchange no more than a few sentences before they start holding hands and kissing.
by Film at Lincoln Center, she took a moment to speak with us about a filmmaker Elena meets Fernando, an Italian law student; he seduces her with promises of love, and the ever watchful Anaïs bears witness to the corruption of her sister’s innocence. FAT GIRL is not only a portrayal of female adolescent sexuality and the complicated bond between siblings but also a shocking assertion by the always controversial Catherine Breillat that violent oppression exists at the core of male-female relations. Ruben Östlund is the director of the acclaimed films Force Majeure and The Square, the latter of which won the Palme d’Or at the 2017 Cannes Film Festival.
explored throughout her career, which began in 2001 with the horror-tinged You think the character is going to wake up and it’s all going to have been a dream, but she doesn’t.
Last All of Hausner’s films point to her interest in the artificiality of Canadian filmmaker Atom Egoyan has directed fourteen features.
I love the crazy openness of this film, the freedom Breillat gives herself to address things you wouldn’t normally talk about.
Cannes-award-winning sci-fi drama Little
While the girls are on vacation with their parents, Anaïs tags along as Elena explores the dreary seaside town.
We’re watching what we already knew was going to happen: at some point in the story, these two good-looking people were going to kiss.
Her sister, fifteen-year-old Elena, is a beauty.
But she’s also performing a kind of self-punishment, in a way that’s not so different from what the pretty girl is doing by involving herself with a man without even really wanting to. Now Playing Search All Films Filter Films By Country Availability.
Her sister, fifteen-year-old Elena, is a beauty. A boy-meets-girl seduction accelerates at absurd speed in Catherine Breillat’s controversial coming-of-age film, transporting us to a realm beyond naturalism. Filter 2261 Results Sort Direction.
That’s where humor comes from: a sudden understanding of the ridiculousness of the human condition.
month, when Hausner was in town to attend a retrospective of her work presented
When I first saw Fat Girl, at the time of its release, I liked it, but I remember thinking that the sexuality in it was so distant from what I had experienced in my own life, and I was angry that the pretty girl ends up being controlled by this man. Fat Girl is not only a portrayal of female adolescent sexuality and the complicated bond between siblings but also a shocking assertion by the always controversial Catherine Breillat that violent oppression exists at the core of male-female relations. I rewatched the movie recently, and I started thinking about how this scene sets up everything that comes after. A t the beginning of Catherine Breillat’s Fat Girl, we meet our protagonists, two French sisters.
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