Fat Girl
Why this pick
Breillat shares Assayas’s refusal to soften teenage experience: it is intimate, volatile, and sharply alert to the imbalance between romantic fantasy and lived vulnerability.
A FILM WORTH A CLOSER LOOKTHE FEATURE PRESENTATION
IF THIS ONE STAYED WITH YOU
Keep the feeling.
SIMILAR PICKS / A PERSONAL CONNECTION
Why this pick
Breillat shares Assayas’s refusal to soften teenage experience: it is intimate, volatile, and sharply alert to the imbalance between romantic fantasy and lived vulnerability.
Why this pick
Pialat’s loose, abrasive ensemble portrait of provincial teenagers has Cold Water’s lived-in restlessness, emotional bluntness, and sense of adulthood arriving without reassurance.
Why this pick
Another 1960s-set coming-of-age film where music, politics, sexuality, and youthful escape become intoxicating; its lushness is more stylized, but the era’s emotional charge is close.
Why this pick
Its drifting camera, fragmented memories, and expressive music make adolescent isolation feel tactile and suspended, offering a similarly lyrical yet unsettled coming-of-age experience.
Why this pick
For Assayas’s same sensitivity to memory and transition, this quieter film watches family bonds and inherited spaces change shape with exceptional emotional precision.
Finding the atmosphere, tension and little details that made this one stay with you.
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01 / THE STORY
Gilles and Christine are teenagers from unstable homes. When they do some shop-lifting together she is arrested, but he gets away. She escapes from a mental institution and meets him at an abandoned house in the country, where a large group of rebellious teenagers are having a wild, all-night party. American rock music from the period is played prominently and has a very strong effect, especially "Me and Bobby McGee," sung by Janis Joplin. Drugs are used, mainly pot and hash. As the party is winding down, Gilles and Christine escape even deeper into the countryside, searching for a commune where artists are said to live without electricity or running water. This is Christine's idea, but Gilles reluctantly goes along. A jolting conclusion shows us that, as Assayas puts it, "Gilles' real life has now begun."
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02 / FACES IN THE FRAME

Christine

L'inspecteur

Mourad

Le professeur
Marie

Le père de Christine