ElijahCSkuggs Truthfully I didn't get much out of Fat Girl. It was a moderately realistic approach to a pretty dysfunctional family, with some serious issues thrown in here and there....actually there are issues thrown all over the place. This movie is unique in a way where you don't focus on anything else besides what's going to happen next. For example, films like Happiness or Bad Boy Bubby, these are two films where the situations presented are so strong and realistic feeling you don't even think about the acting or cinematography etc. For this feeling that Fat Girl gives off, the film should be applauded. But on the other hand it doesn't really teach you anything. Anyone with a grip on today's reality, should understand these situations aren't so uncommon. But the ending is a totally different story. I, like everyone else watching this flick was waiting for something to happen to Anaise, but what did occur was pretty out-there. Im sure they could have handled the situation differently, to get that same exact line Anaise spoke. For one, why not have sister's boyfriend rape her? But, I suppose it's not the situation that is most important, but why she said it in the first place. All her talk about not wanting her first to be someone she didn't love.....she wasn't kidding.

schnoidl a true portrait of some incredibly immature people you can't possibly come to care one bit about, who flop from one impulse or random surface emotion to another, lie to and absent-mindedly manipulate each other, with loads of prurient underage sex that adds nothing to the story, and a supremely lazy ending that i wish like hell i could get out of my memory. if you want to believe the above reviewers who say it's all poignant and intimate and all that, well go right ahead and see it. but when you hate the vicious ending and can't get it out of your head ever and it gives you the creeps every time you think of it, well, i did try to warn you. i've seen a couple of her films (this will be the last ever), and she seems to take a very schizophrenic delight in openly wallowing in the permissive/sordid lives of her characters, only to kill them out of nowhere, ultimately an incredibly dull moralizing prudishness masked as curiosity. maybe this smelled like a big windup to some big revelation to her, but to me it just stunk.

kevinmurphykm I have just seen "A Ma Soeur", and all I can say is it's a pretentious piece if garbage. What is it about French film directors that makes critics and film buffs alike salivate at the mouth when discussing what are , essentially, in the main, arrogant, self-indulgent works of pseudo-intellectual nonsense? You can throw Pedro Almoldovar into that category as well. He is yet another European "auteur" whose films grate to the point where I want to throw a brick at the screen. All of this solipsistic home-spun philosophizing gimmickry is nothing more than a case of the "Emperor's New Clothes".In the case of "A Ma Soeur", the denouement is totally incongruous and non-sequitir with the rest of the film; completely out of sync with the main corpus of the piece. For the most part, we are watching a sleazy Italian student attempting to deflower an attractive teenage girl while her younger overweight sister looks on. This, in itself evoked a sense of "ennui" in me. For the gratuitous sake of sensationalism, a few controversial love scenes are added to the mix, but hey, this IS a French film, so it is all for the sake of "Art" and "Artistic Endeavour" The ending is so ridiculous and over the top that it bears no resemblance to the themes and motifs of the rest of the film. If a Hollywood director made a piece of garbage like this, he would have been rightly lambasted but, because this is a French film, it is regarded by the pseudo-intellectual cognoscenti as "challenging" and "uncompromising".The denouement reminded me of those excellent films, "The Player" and "Adaptation", where Altman and Kaufman/Jonze respectively take the unmerciful p**s out of overblown, sensationalist Hollywood films, which start out in one direction but take a completely different route for the sake of increased cinema audiences and publicity; except "A Ma Soeur" continued to take itself seriously right up to the silly unbelievable,ridiculous ending.

groggo Breillat is superb at filming endless debates on sex beds in the guise of human sexual 'profundity'. You won't be denied your dose of excess if you see this typical piece of Breillat pretentiousness. One sex scene on a bed between the two young lovers goes on for almost 30 minutes! And after this nonsense, you're only slightly more familiar with what the characters are about (we already know what they're about anyway; this 'plot' is not very difficult to understand).If these were Bergmanesque or Rohmeresque glacier-like sex scenes (i.e. if they illuminated the 'study' of the characters or propelled the narrative) I could forgive writer/director Breillat. But she does the opposite. This is the fourth of her films that I've seen (I kept thinking I'd missed something brilliant). I'm now fully convinced that she's a flat-out sensationalist voyeur, and commits the deadly sin of being deliberately controversial. In my opinion, she does this because her talent is, well, limited.Breillat's films are loaded with dialogue, which is a shame because she simply doesn't have very much to say. She paints all of her films around sex, and that becomes a pretty flimsy canvas very quickly.