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Breillat is stridently provocative in the presentation of director her material. She shows Anaïs stuffing her face director and pathetically lathering loads of suntan lotion over her plump arms and legs. Breillat includes one shot of Anaïs looking like a beached whale. All the while, she dares the audience not to judge the character. Todd Solondz would love Breillat’s films with their dark, oppressive views director of sex and romance, but her films, and that includes Fat Girl, suffer from the same heavy-handedness Solondz’s do. Ultimately, the events in Fat Girl feel more like they are chosen to justify a skewed feminist polemic rather than developing from an organic story. The most spectacular example is the shocking deus ex machina ending. It is literally bludgeoning. While Breillat has much to say, and some of it is worthwhile, bludgeoning results more in turning away an audience than in convincing it.
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