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Like Breillat, Anaïs may be cynical to a fault, but when you consider the final moments of Fat Girl, you realize that this cynicism serves exploitation a higher purpose as defense exploitation mechanism. In Sex Is Comedy, Breillat's auto-critique of Fat Girl's infamous sex scene, a horned-up director played by Anne Parillaud seems to grapple with the extent of her cynicism and how she uses it to control the people around her. This is much in the same way that the main character exploitation of her famous Romance looks to redefine love and pleasure under her own terms. Breillat may not be someone you'd want to be in a relationship with, but this is a woman who insists on creating characters with full ownership of their sex. Like Romance and Sex is Comedy, Fat Girl is very much a feminist statement. But unlike Sex is Comedy, Fat Girl isn't taxing and doesn't do the thinking for us, and unlike Romance, it's daringly sexy. This may be why Breillat intimidates so many critics, especially men: because she uses sex as philosophical titillation—a place very few people want to go when they're trying to get off.
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