Tuchergson Truly the worst movie I've ever seen in a theater

Evengyny Thanks for the memories!

Tacticalin An absolute waste of money

BallWubba Wow! What a bizarre film! Unfortunately the few funny moments there were were quite overshadowed by it's completely weird and random vibe throughout.

martyaxwar To begin with: I love artistic movies. Even slow ones. Subtle ones. So when I say, that this movie was for me painful and boring to watch, it's not at all because I dislike the pace itself. No, this movie was painfully boring because of how DULL it in reality is. I spent my time asking my self what the actual point to this was. The movie lacks any original thought or vision. The romance is dull, boring, poorly presented and over-sexualized. The relationship between the sisters (which is probably supposed to be the main focus of this film) is dull, boring, and forcefully pathological. The characters are incoherent and there is virtually no character development. The movie tries hard to be controversial and provocative, but for me it came out as forced and annoying. The ending just nailed this impression.Not worth seeing. (Who thought that 20 minutes of driving on the highway, with no interesting interactions between the characters at all, would be a good thing to put into a movie? I mean: What the hell?)

GrigoryGirl I adore Catherine Breillat. Her films really get at the core of the war (and it's a war) between men and women. Gone is any trace of silliness and sentimentality. This film, Fat Girl (aka For My Sister) was the first film of hers I saw, and it's still a favorite. The film centers around 2 sisters, one seductive and one slovenly and fat, yet the fat one seems to know what's going on better than her (at least physically) more attractive sister. The scenes where an Italian suitor tries to seduce the attractive sister are difficult to watch, because they have so much truth in them. Many people dislike Breillat's film intensely, usually American critics. Mind you, the critics of Breillat's films aren't the usual, religious fundamentalists. They are usually "educated", liberal critics who are supposed to be open minded, but seems to shut down their minds when reviewing Breillat's films. They take scenes out of context (like right wing fundies do when they criticise films they don't like), and start attacking Breillat herself, instead of looking at her work. She's been compared to the Marquis de Sade, not in terms of S/M sex, but in the tone of her work regarding relationships (many people have never read de Sade. His work is about much more than bondage). Watching interviews with her is as fascinating as her films. Her films are very bleak and cynical, yet there is more truth in one frame of Fat Girl (and Breillat's other work) than in an entire season of Sex and the City (I would have loved to see her as "special guest director" on Sex and the City. It would have been the best episode), or many American films that are pretending to be "edgy" about sex, but in fact end up being childish. Many people dislike the ending of this film, saying it doesn't fit in with the rest of the movie. The ending fits in perfectly with the tone of the film (and of the character it most affects). I think the ending is so unique that many people just can't accept it. This (along with Anatomy of Hell) are amongst the best of her films. To have a filmmaker as perceptive as her in this day and age is something we should all be grateful for. See Sex is Comedy as well. It's a companion piece to this film. Brilliant Breillat.

schnoidl a true portrait of some incredibly immature people you can't possibly come to care one bit about, who flop from one impulse or random surface emotion to another, lie to and absent-mindedly manipulate each other, with loads of prurient underage sex that adds nothing to the story, and a supremely lazy ending that i wish like hell i could get out of my memory. if you want to believe the above reviewers who say it's all poignant and intimate and all that, well go right ahead and see it. but when you hate the vicious ending and can't get it out of your head ever and it gives you the creeps every time you think of it, well, i did try to warn you. i've seen a couple of her films (this will be the last ever), and she seems to take a very schizophrenic delight in openly wallowing in the permissive/sordid lives of her characters, only to kill them out of nowhere, ultimately an incredibly dull moralizing prudishness masked as curiosity. maybe this smelled like a big windup to some big revelation to her, but to me it just stunk.

groggo Breillat is superb at filming endless debates on sex beds in the guise of human sexual 'profundity'. You won't be denied your dose of excess if you see this typical piece of Breillat pretentiousness. One sex scene on a bed between the two young lovers goes on for almost 30 minutes! And after this nonsense, you're only slightly more familiar with what the characters are about (we already know what they're about anyway; this 'plot' is not very difficult to understand).If these were Bergmanesque or Rohmeresque glacier-like sex scenes (i.e. if they illuminated the 'study' of the characters or propelled the narrative) I could forgive writer/director Breillat. But she does the opposite. This is the fourth of her films that I've seen (I kept thinking I'd missed something brilliant). I'm now fully convinced that she's a flat-out sensationalist voyeur, and commits the deadly sin of being deliberately controversial. In my opinion, she does this because her talent is, well, limited.Breillat's films are loaded with dialogue, which is a shame because she simply doesn't have very much to say. She paints all of her films around sex, and that becomes a pretty flimsy canvas very quickly.