Charlotte Alexandra (Therese from Immoral Tales) returns to her parents house from boarding school for the summer. She becomes obsessed with a blue collar employee of her father's and his indifference toward her only increases his presence in her numerous sexual fantasies.

The sexual fantasies that our heroine concocts are quite bizarre, self-centered and credible as the products of a hormonally charged but inexperienced mind. Almost everything that surrounds her becomes a sexual symbol that triggers a cascade of imagination including her breakfast spoon as she dines with her parents.

The title refers to a dress size that the lead, Lili, played with snap by Delphine Zentout, is becoming too big for.

Starring Delphine Zentout, Etienne Chicot, Jean-Pierre Léaud.

Caroline Ducey plays a sad wisp of a woman trapped in a loveless relationship with a man whose coldness to her is unbearably cruel to watch. She seeks out increasingly daring and perverse sexual outlets and ruminates on her nature, voicing many sincere female views about sex and self image that are common, but seldom spoken. Some are profound and sympathetic, while others are self-serving or pathological, but all have verisimilitude. (If I do nothing else on this site, I want to argue forcefully that art is what remains when propaganda is stripped away. Breillat's greatest asset is her lack of a soapbox, and one shouldn't assume that Ducey is to be viewed as wise or good simply because she's the female protagonist in a film made by a woman.)

The cast and crew on this picture were real snobs - they were incensed when Breillat brought in porn actor Sifferedi, and made his part of the shoot a living hell. Ducey finally snapped and refused to keep having sex with him, and is bitter about the film. I would prefer he wasn't in it, but only because he is so recognizable. Aside from that he is perfectly adequate in his minor role as a one-dimensionally virile man.

Best to watch this in French with English subtitles, because the English dubbed dialogue is inferior.

In Parfait Amour! Isabelle Renauld stars as a successful woman in her early 30s who falls in love with an unlikable younger man (Francis Renaud) who in some ways would be a better match for Renauld's teenage daughter Emmanuelle. The young man expects to be free to hang out in bars with his best friend and chase women.

"Twelve-year-old Anaïs is fat. Her sister, Elena, is a teenage beauty. While on vacation with their parents, Anaïs tags along with Elena as she explores the dreary seaside town. Elena meets Fernando, an Italian law student, who seduces her with promises of love, and the ever-watchful Anaïs bears witness to the corruption of her sister's innocence. Precise and uncompromising, Catherine Breillat's Fat Girl is a bold dissection of sibling rivalry and female adolescent sexuality from one of contemporary cinema's most controversial directors."

The two leads detest each other so they're less than convincing lovers, but director Jeanne (Anne Parillaud) drives them to physical intimacy in the service of art. It's a solid movie about making movies, though somewhat slight and self-indulgent.

"Anne Parillaud (La Femme Nikita) is fiery, sultry and explosively funny as a movie director who'll do anything to get her shot. For director Jeanne (Parillaud), sex is no laughing matter. She doesn't find it funny that her two leading actors can't stand each other when she's about to shoot the most important moment in her film.the sex scene. The actress objects to nudity, the actor won't take off his socks, and the only thing heating up between them is their tempers. At her wits' end, Jeanne tries everything in her power to seduce, intimidate and sweet-talk her reluctant young lovers into performing the film's sexy final scene!"

"Rated R for strong sexual content including graphic nudity and dialogue."