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Soon, however, they are giggling about their shared childhood antics. The irony is that, despite Anaďs's fat girl dances with rocks lack of social grace, she has a more acute social intelligence. When Elena shows Anaďs the expensive ring Fernando has given her, her sister immediately sees fat girl dances with rocks the problem that will arise. Indeed, round two of Elena's love affair is complicated by the arrival of Fernando's voluble ring-seeking mother (Laura Betti). The girls' own mother gets so upset she smacks handy Anaďs, then packs everyone up and heads back toward Paris in a car that seems fat girl dances with rocks to radiate anxiety. Fat Girl's classical structure climaxes with a violent shift in rhetoric—gritty as it is, the movie has no pretensions to kitchen-sink naturalism. The shock ending recasts the idea of initiation, recapitulating much of Breillat's argument—already made tangible for being played out on the bodies of its female cast members—in a particularly visceral form.
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