Fat Girl



Rotten Tomatoes Critics - Certified Fresh 74%
Rotten Tomatoes Audience - Upright 64%
IMDb Rating 6.5 10 10,066


Downloaded times
June 14, 2020


Arsinée Khanjian as Francine
Roxane Mesquida as Elena Pingot
720p.BLU 1080p.BLU
795.54 MB
French 2.0
23.976 fps
86 min
P/S N/A / N/A
1.6 GB
French 2.0
23.976 fps
86 min
P/S N/A / N/A

Movie Reviews

Reviewed by dbborroughs 4 / 10 / 10

Story of two sisters is rather dull before it gets worse

(CONTAINS SPOILERS-The ending is discussed) Another stunningly strange film from Catherine Breillat, director of Romance, Anatomy of Hell and Real Young Girl. The plot concerns two sisters the older one, Elena who is about 14 or 15, and is thin and beautiful, and the younger,Anais, who is 12, is fat. While on vacation they meet a law student and Elena begins a dangerous flirtation with the young man. This quickly leads to several secret night time visits to the girls room as Anais watches her sister and her paramour. Tension grows between the girls as Anais longs for the affection that her sister is getting. I should state I'm not a fan of Catherine Breillat. I find her films shocking and silly. Clearly she's going for an effect, which she usually achieves, and which is usually dissipated by the the lack of anything behind it (to paraphrase some one famous she presents the obvious by way of the scandalous). Here for example we have several scenes of intimacy between Elena and her beau, which are filmed in long almost painful takes that simulate Anais watching from across the room. The scenes are edgy for what they are showing and uncomfortable since the girl involved is 14 or 15. (Anais is suppose to be 12. Though both seem older.) For me the scenes went from intriguing to uncomfortable to dull rather quickly as they seemed to just drag on. To me the scenes would have worked better had we gotten to know the two girls more at the start. Certainly a later scene where the pair shows affection for each other adds a great deal the relationship between the pair, but for me it was too late to affect the early sex scenes. Breillat also goes for effect when she has the mother drive the girls home and we have what seems like a two hour ride with the three women in the car moving in and out of traffic. Its grand foreshadowing and she builds tension for an event that never comes while at the same time keeping you sleepy enough that when the final bit comes you're completely unprepared. I have to tell you what that was but nothing that happens in the preceding 80 minutes prepared me for the unintentionally funny conclusion of this film. Many people find the sudden and shocking turn of events horrify and unnerving and the very end is, however what sparks that is simply very silly, and it was so out of left field, so bizarre, so ridiculous that the boredom of the long car sequence was sent packing as I doubled over in a fit of laughter. I can not and could not believe that anyone would do what Breillat does. Its a shock technique that doesn't belong in this film or a film like this which no doubt why so many people are horrified by it. Even if this were the sort of film that it might belong in, no one would do it as silly as here. What bothers me is that it leads up to a disturbing event that, and we should be really shocked and rattled to our core but for me it was wildly undercut in its power because what it took to get us there was so contrived and so ludicrous it runs the final bit. I don't know what deeper meaning was behind it all, certainly the rivalry between sisters and sexual longing and such,but I got no hidden truth, nothing I didn't know before. I'm sure it has something with Anais' statements about sex, then again it could be the most forceful statement of what many consider a slasher films morality, namely sex is bad. To be honest I had my cage rattled a bit, but to what end? Perhaps had I been a girl with a sister or two this might have meant something to me, but as it stands now its a dullish movie with a WTF ending. I'd leave this review there except I have to say something about the best thing in this film, namely the two girls the story revolves around. They are both stunning beautiful and damn fine actresses. The interplay between them is very real and I would love to see them paired up again, in a better film. To be honest they are so good that I will probably watch this again to see them interact (especially in the secrets scene) 4 out of 10 (I was tempted to say 5 out of ten but the ending really strikes me as too silly- a great moment-but for all the wrong reasons. I think the end is what sealed this films doom)

Reviewed by AnnHolway360 8 / 10 / 10

Black and Bloodless at the Same Time...

Is this art? Hey, you tell me. First of all, IMHO, a story/film doesn't need to qualify as "art" to be enjoyable. Second of all, like Bill Sampson says in my beloved "All About Eve", "What book of rules says that theatre exists only within some ugly buildings crowded into one square-mile of New York City? Or London, Paris, or Vienna? Wherever there's magic and make-believe and an audience, there's theatre." Even if it's not theatre to you, it's theatre to someone - somewhere. (paraphrase) Well, there sure as heck ain't magic here. There is an excellent scene where 13-year old budding misanthrope Anais, full of the passion-bloom of early adolescence and the fairy-tale imagination of childhood, swims back and forth in the pool, picturing herself as the desired object of two dream lovers. I also liked the fact that Anais is already light years ahead of her 15-year old sister in the brains department. However, a good scene does not a good movie make. The shame is – it might have made a very good story. What could have been a pitch-perfect, pitch-dark comedy/horror about sibling rivalry, middle-class ennui and the treachery of some young men somehow turned into a nihilistic mishmash of implausible dialogue and uneven tone. It's interesting to me, a rampant film freak, that I have no blanket objection to the controversial subject matter/images of the film, but to the movie's tone and execution itself. Child rape? Hey, I found "B*****d out of Carolina" hard viewing, but an excellent film. Miserable adolescence? Dawn Weiner, we salute you. Men can be scum? Hello, and welcome to the "Company of Men". (Man, Aaron Eckhart scared me off dating for YEARS with that one.) Ultra-violence, ahoy? "A Clockwork Orange" – gorgeousness and gorgeosity! The depiction of twisted sex and the dark roads it can lead its characters – and us – down? Why not try "Don't Move" with Penelope Cruz? A film wants to be controversial? I'm all for it – I consider free speech one of my greatest privileges and I don't condone censorship. But this – alas. Watching it, I couldn't help but remember a quote from the quirky NYC comedy "Jeffrey" – "Evil is one-note. It bores me." IMHO, this is darkness and mire without shading, dimension, satire, irony or much of anything original to say. This is a movie that would probably like to believe it's as quirky, sharp and sardonic as Anais actually is. Unfortunately, it's as trite, pasty and insipid as her snarky older sister is. Anais deserves another – better – story, as do the viewers. No matter how slim the selection of your local movie mart, there are so many more comedies, tragedies and romances that deserve your time. If you happen to see this on the shelf, why not give it a polite nod…and then keep walking? Your schedule – and your wallet – will thank you. ** Please also read Shinwa's insightful comments from 2002 – an excellent post!

Reviewed by vacax 8 / 10 / 10

Being deeply unsatisfying is satisfyingly deep

Most people watch movies in order to enjoy them. Every so often a film comes around that is hard to enjoy, but is undeniably artistic. And I'm not saying the movie isn't good -- I'm saying you're not supposed to leave the movie with feeling satisfied, happy, or particularly having enjoyed it. I found the relationship between the sisters to be superbly crafted. Despite their differences and constant bickering, they love each other. This is clear. The sisters meet Fernando, who proceeds to seduce 15 year old Elena with every clichéd "you have to have sex with me to prove you love me" technique imaginable. However mind-bogglingly obvious his impure intentions are, Elena falls for it hook, line, and sinker. Though it sounds rather formulaic, I found it intriguing because it really does happen this way so often. It is interesting how the younger Anais recognizes Fernando's intentions, yet allows her sister to make her own mistakes. Inevitably, it becomes apparent to all that Fernando betrayed Elena in the worst way. The mother responds in what is a rather cold and unsympathetic manner, but in reality this is exactly how any parent would react in the situation. This is a spoiler-filled review, so I will now tackle the ending without holding back details. I'm sure many people are reading this in order to find out the opinions of others over the shocking and violent final scenes. Most of the parallels that this form explains have already been mentioned in other comments here. Is virginity sacred? Anais and Elena would answer that differently. Nonetheless, the end result is the same for both -- their first mates betray them. Elena believed her virginity was sacred, but was easily seduced and lost it. Even though Anais has a different take on virginity, she is also betrayed, this time by a rapist. You can also ponder the moral quandary of whether or not Elena was raped by her Italian lover. She may as well have been. In fact, it seems that having her heart torn out was more emotionally traumatic than when Anais's virginity was forcibly torn away. Of course the responsibility for the tragic ending lies solely on the maniac who commits the acts. Yet, situationally speaking every single character (both sisters, both of their parents, Fernando, Fernando's mother) is somehow responsible for putting them in that place at that time. If you're looking for a deeper meaning in the ending, I believe there is a notable parallel between the narrative and the ending. So many people have said, "the director ran out of ideas" or "it's a gimmick" or "it's just shock value" or just think it doesn't fit the narrative. Many have expressed feelings of cinematic betrayal in the end of the film -- this betrayal mirrors the betrayal of both sisters. The director is like Fernando, seducing us for the entire film, screwing us, then abandoning us. It is so sudden, shocking, and unbecoming that we feel raped... much like the Fat Girl. The cinematic and artistic values hold true in the ending. You just have to look for it. It is up to personal taste whether this makes for a "good movie" or not.

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