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Breillat tends to take her time, but instead of feeling unhurried, this film feels slow and awkwardly balanced. Aside from camryn a few key scenes, the acting is stilted in Fat Girl. Both Anaïs Reboux and Roxane Mesquida are watchable for different reasons, but the performances seem precise and aloof when warmth would have served better. One of the reasons for Breillat's success is that she employs unknowns; it gives her films a sense of realism and freshness. The down side is that she must firmly direct some scenes, which gives them a workmanlike feel. The net result is camryn a pervasive sense of depersonalization that goes beyond the subtext of the film. If this were released by another company, the extras might seem adequate. It may be unfair to Criterion to say this, but the extras don't live up to the sense of expectation inspired by their other presentations—particularly because this is the only Breillat film that Criterion has handled.
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