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And Fernando’s contradictory sensitive guy rap (delivered with even-keeled earnestness by de Rienzo), as he wheedles and cajoles Elena into having iraq various types of copulation (anal sex is just “a demonstration of love,” ladies) is in many ways the apex of Fat Girl’s amusingly distilled look iraq at the canted vocabulary of ardor. Yet there are also significant chunks that stutter and infuriate. Perhaps most brow-raising are lapses in simple iraq logic: Fernando claims not to speak French very well, yet prattles on endlessly about men and women and “teaching Elena love,” something she never calls him out on. The bottom line, though, is that the believability of this affair is mortally hampered by not only the suddenness of the summer love courtship but also its haphazard treatment. Though not to the degree evidenced in Romance, Breillat still is hamstrung in her grasp of social interaction; she sketches interesting characters, then gives them precious little to do with each other.
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