Now Playing Search All Films Filter Films By Country Availability. While the beautiful girl and the handsome man are carrying out their seduction, the fat girl is on the other side of the table eating a banana split. I don’t need to see what I’ve seen a hundred times before. USA; CAN; All Films 2261 Results . A boy-meets-girl seduction accelerates at absurd speed in Catherine Breillat’s controversial coming-of-age film, transporting us to a realm beyond naturalism. While the girls are on vacation with their parents, Anaïs tags along as Elena explores the dreary seaside ... 1:36:03. We use cookies to give you the best experience possible. The Criterion Channel. That’s where humor comes from: a sudden understanding of the ridiculousness of the human condition. Get info about new releases, essays and interviews on the Current, Top 10 lists, and sales. I couldn’t accept that both of the sisters, in their own way, become victims of sex. They understand much more than their parents do, and because of this they don’t make it easy for each other. But she’s also performing a kind of self-punishment, in a way that’s not so different from what the pretty girl is doing by involving herself with a man without even really wanting to. Starring Anaïs Reboux, Roxane Mesquida, Libero de Rienzo. All of Hausner’s films point to her interest in the artificiality of

Jessica Hausner is the director of Lovely Rita, Hotel, Lourdes, Amour fou, and Little Joe. For October, the Channel will feature films from Marlon Riggs, Pedro Costa, Barbara Kopple, Jenni Olson, and more! Her sister, fifteen-year-old Elena, is a beauty.

The Criterion Channel is more than just the movies. Twelve-year-old Anaïs is fat. While the girls are on vacation with their parents, Anaïs tags along as Elena explores the dreary seaside town. While the girls are on vacation with their parents, Anaïs tags along as Elena explores the dreary seaside town. Where before I would have been happy to see anything by Breillat or Jane Campion, both of whom I like, now I can say that I feel a deeper kinship with one over the other.

who shares her suspicion of realism—Catherine Breillat—and one scene that slyly The following interview with director Catherine Breillat was conducted for German television the day after the screening but never broadcast in its entirety.

Shattering taboos with her unflinching, often shocking explorations of female sexuality and pleasure, Catherine Breillat emerged as one of the major voices of the New French Extremity, a movement defined by its transgressive focus on the corporeal realms of eroticism and violence. Then the beautiful girl takes her place next to the man, and during their encounter they exchange no more than a few sentences before they start holding hands and kissing. I can see more clearly the connection I have with Breillat. demonstrates the absurdity of ordinary human behavior. While the girls are on vacation with their parents, Anaïs tags along as Elena explores the dreary seaside town. This is precisely what interests me in cinema. Artificiality is at the heart of my new film, Little Joe, which asks: can we ever be sure that people are who we think they are? Joe, the first English-language film by Austrian director Jessica Hausner. FAT GIRL was first shown to the public on February 10, 2001, when it ran in competition at the Berlin International Film Festival.

FAT GIRL is not only a portrayal of female adolescent sexuality and the complicated bond between siblings but also a shocking assertion by the always controversial Catherine Breillat that violent oppression exists at the core of male-female relations. Twelve-year-old Anaïs is fat. can prove the genuineness of our feelings?” a character asks at one point in the Chloë Sevigny took a step behind the camera with her directorial debut, Kitty, an adaptation of a Paul Bowles story about a shy young girl who finds herself transforming into a cat. One is the title character, and the other is very explicitly her … In the early days of the COVID-19 pandemic, a New York writer recalls the pure, easy pleasures of the multiplex and the feeling of escape at the heart of moviegoing. By using our site, you agree to our use of cookies. There’s a similar moment in my graduation film, Inter-View (1999), where a heavy-set girl eats ice cream while a very attractive young man tries to tell her that he loves her. Her sister, fifteen-year-old Elena, is a beauty. Unrelated. Get info about new releases, essays and interviews on the Current, Top 10 lists, and sales.

French auteur cinema has increasingly been exploring themes of sex through scenarios whose explicitness verges on the pornographic. what we call “nature,” mining dark, often morbid humor from the unreliability

In the wake of Bong Joon Ho’s internationally beloved hit, a new Criterion Channel series looks back at the explosion of Korean filmmaking that began at the turn of the millennium. In psychoanalysis there’s a concept called the Capgras syndrome, in which a person starts to believe that someone he or she knows well has been kidnapped and replaced by an imposter. You think the character is going to wake up and it’s all going to have been a dream, but she doesn’t. Elena meets Fernando, an Italian law student; he seduces her with promises of love, and the ever-watchful Anaïs bears witness to the corruption of her sister’s innocence.

At the beginning of Catherine Breillat’s Fat Girl, we meet our protagonists, two French sisters. A Pulitzer Prize–winning poet pays tribute to the liberating power of the pioneering filmmaker and his truth-telling body of work. Girls can be extremely competitive and manipulative—and I don’t think of this as a negative thing. It’s astonishing. Elena meets Fernando, an Italian law student; he seduces her with promises of love, and the ever watchful Anaïs bears witness to the corruption of her sister’s innocence. They’re behaving not in the way they want to but in the way they have to. coming-of-age tale Lovely Rita and It’s our 15-minute-a-month film school, Observations on Film Art, or the Tuesday Short + Feature and the Friday double bill. Directed by Catherine Breillat • 2001 • France, Italy We’re not very original; there’s a textbook for our path in life, and we learn it and follow it. Filter 2261 Results Sort Direction. This scene brings us to a level of surrealism that feels revolutionary to me. The deeply introspective music in Claudine brings layers of emotional authenticity and nuance to a portrait of Black love and family. A t the beginning of Catherine Breillat’s Fat Girl, we meet our protagonists, two French sisters. month, when Hausner was in town to attend a retrospective of her work presented They are hardened against each other. The question is as good a summation as any of the themes that Hausner has They enter a café, and the fat girl sits down beside a handsome Italian man, and her sister tells her off and explains that this is impolite, that she can’t just sit there. An Italian guy has met a French girl: we’re in a heaven of eroticism! Canadian filmmaker Atom Egoyan has directed fourteen features.

Her sister, fifteen-year-old Elena, is a beauty. Later on, there are moments where we aren’t sure if what we’re seeing is actually happening. Each month, the programmers at the Criterion Channel produce incredible line-ups for their subscribers. It shows us the artificial mechanisms by which we live together and interact. And I think the best movies share this. Christopher Radcliff and Lauren Wolkstein’s Top, New, restored high-definition digital transfer, with DTS-HD Master Audio soundtrack on the Blu-ray edition, Behind-the-scenes footage from the making of, Two interviews with director Catherine Breillat, one conducted the night after the film’s world premiere at the 2001 Berlin Film Festival, the other a look back at the film’s production and alternate ending, PLUS: A new essay by film scholar Ginette Vincendeau, a 2001 interview with Breillat, and a piece by Breillat on the title.

FAT GIRL is not only a portrayal of female adolescent sexuality and the complicated bond between siblings but also a shocking assertion by the always controversial Catherine Breillat that violent oppression exists at the core of male-female relations. See more in our Cookies Policy. Now that there are more women filmmakers out there, it’s easier to see the contrasts between them, rather than just being glad that they even exist. Fat Girl. I love the crazy openness of this film, the freedom Breillat gives herself to address things you wouldn’t normally talk about. Twelve-year-old Anaïs is fat. Cannes-award-winning sci-fi drama Little explored throughout her career, which began in 2001 with the horror-tinged From Fat Girl onward, she moved into a very artificial style of filmmaking—you can see it in a movie like Anatomy of Hell—and the further I advance in my own work, the more I think I understand what she’s doing. Of course, the little girl was fat, but the title also expressed an autism, a wall between her and the world that the foreign language reinforced.



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