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Best Fat Paysites
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| masturbate, fiction general, frederick bodin, pamela, female friendship, spring, national association to advance fat acceptance, documentary, actor, massive blow job, teen, | The beginning is enigmatic even as it dissects with shocking frankness the sexual manipulations with which young men pressure their girlfriends and those with which sisters both preserve and violate entente with each other. The complex narrative resonances are such that you can't keep a hold on all the simultaneous developments, inspirational general but they all feel scorching to the touch. Then, À Ma Soeur! becomes Fat Girl. At that point, it is no longer a film about an overweight inspirational general sister whose family grossly projects their unrelated inspirational general discontents onto her body, nor about a girl who is trying to stake out a philosophy on sexual behavior that jives with her own lack of suitors. Rather, Fat Girl is about an empirically grotesque figure (photographed from unflattering angles, with bits of food on her clothes and in her hair) who enters the world of sexual knowledge from the only avenue the film can conceive for her. |
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| Not Rated (nudity, sexual content, violence) Pam fiction general Singleton © 2001 pam@reelmoviecritic.com Mini Filmography Roxane Mesquida: School of the Flesh Catherine Breillat: Romance, A Real Young Girl VLINK = fiction general "#FFFF00"> À Ma Soeur!/Fat Girl Director: Catherine Breillat. Cast: Anaïs Reboux, Roxane Mesquida, Libero de Rienzo, Arsinée Khanjian. Screenplay: Catherine Breillat. What starts as an unflinching and amazingly well-acted capture of pervasive misogyny and sisterly antagonism eventually impales itself, and us, on a sharp spike of concluding nihilism. Reboux stars as the "fat girl" of fiction general the translated title, and in a way, the difference between the flat nominalizing of that term and the slippery interjection of the original À Ma Soeur!—which can mean, approximately, "Dedicated to my sister," "Belonging to my sister," or "My sister's turn" (as in hot potato)—is a good allegory for how the film itself transforms. |
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