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	Catherine Breillat (1948 - )
		Catherine Breillat is filmmaker and director based in Paris, who is not only known for her documentary filmwork focusing on sexuality, gender trouble and sibling rivalry, but also for her best selling novels.
		Catherine Breillat is a professor of auteur cinema at the European Graduate School in Saas-Fee, Switzerland where she conducts a summer workshop.
		Catherine Breillat is somewhat controversial for her explicit depiction of sexuality.
	www.jahsonic.com /CatherineBreillat.html (1570 words)

	Reel.com: Catherine Breillat
		Two years ago, her drama Romance, about a young woman's voyage of sexual self-discovery, was rejected by the MPAA in the U.S. for its candid depiction of intercourse.
		It was at the Toronto film fest that Reel caught up with Catherine Breillat, and she talked about her story's beginning, why she doesn't worry about Fat Girl's abrupt shift in tone, and what it took to make a 13-year-old cry.
		Catherine Breillat: It started off I actually saw a young girl, who was 12 years old and she was swimming.
	www.reel.com /reel.asp?node=features/interviews/breillat (1531 words)

	Salon Directory
		Breillat a provocateur, but she's the plain brown kind: Her particular brand of provocation is markedly lacking in showmanship.
		The vagaries of foreign-film distribution are such that Breillat's two most recent pictures are being released almost simultaneously in the United States: "Sex Is Comedy" (2002) is a fictional account of the filming of the central sex scene in Breillat's 2001 "Fat Girl," and it is, as its title suggests, something of a comedy.
		Breillat wrote the scripts for both films, although it seems as if, for her, writing and filmmaking are so entwined they're practically inseparable.
	dir.salon.com /story/ent/movies/review/2004/10/15/breillat/index.html (465 words)

	French culture \| cinema: Catherine Breillat (Site not responding. Last check: 2007-09-17)
		Catherine Breillat was born on July 13, 1948 in the town of Bressuire, France.
		She would have to wait eight years before being able to shoot another film, 1987's 36 Fillette, having to write a novel on the subject to convince the producers who were panicked by the audacity of the subject: the hard-core sexual quest of a 14-year-old girl and her obsession with losing her virginity.
		In 1991, Breillat directed Sale comme un ange in which she tackled the thriller genre with the story of a cold and dull puritanical woman (Lio) who is transformed by the desire of a hard and worn-out cop (Claude Brasseur).
	www.frenchculture.org /cinema/festival/breillat (466 words)

	A Catherine Breillat Retrospective
		Breillat received worldwide attention with this sexually explicit fable of a young woman whose withholding lover drives her into infidelity and self-discovery.
		Breillat's first film to receive U.S. distribution is an exciting pas de deux between a headstrong fourteen-year-old and the aging Romeo whom she fascinates.
		Though she spares her characters nothing, Breillat the director inhabits a separate metaphysical plane, where she finds a kind of joy in a war fought well; at unexpected moments, her charcters join her on that plane and the tone of her films shifts from despair into exuberance.
	www.panix.com /~sallitt/breillat.html (492 words)

	Sex is Everything by R. W. Gordon - Read e-books online! (Site not responding. Last check: 2007-09-17)
		Breillat has gently hung up her existential skates and appended ‘comedy' to the genre section of her C.V. Sex is Comedy deals specifically with the shooting of sex scenes and the ensuing madness.
		Breillat's work explores the virtue of mistreating gender, where females with strong sexual vices deserve and are granted power and feminine, castrated males are punished or ignored.
		Breillat is the most exciting filmmaker to come from France since the last one.
	www.rwgordon.sphosting.com /Nonfiction/Comedy.htm (472 words)

	Guardian Unlimited Film \| Features \| The Friday interview: Catherine Breillat
		When her translator recounts that Breillat has just suggested that sex without emotion is "like chucking your bra to the thistles", the gulf in comprehension is evident.
		Breillat's latest film, A Ma Soeur, pivots on the relationship between two sisters during a claustrophobic family holiday, and surfs the conventional bounds of acceptability with its portrayal of the violent rape of a 12-year-old.
		Breillat herself says that she was sexually aware from an early age, starting her periods and developing breasts at the age of 11.
	film.guardian.co.uk /censorship/news/0,11729,660428,00.html (1514 words)

	wbur.org Arts - Movies - Outside the Danger Zone
		Breillat trains her camera on the boy and girl lying in the small bed as a 25-minute real-time negotiation takes place, shot in a lengthy take with minimal edits.
		Breillat wanted to try a frothier tone, and provide a window into the absurdity of forging two actors, who may be indifferent to or contemptuous of one another, into convincing screen lovers.
		It's possible that Breillat wasn't satisfied with "Sex Is Comedy" either, since her subsequent film, this year's "Anatomy of Hell " (based on her novel "Pornocratie") is arguably her most hardcore, difficult, and abstract film yet.
	www.wbur.org /arts/2004/48868_20041203.asp (1070 words)

	Interviews Revisited: Catherine Breillat - article - Stumped? - Stumped At the Video Store is a Magazine About Movies, ...
		When I arrived, I was greeted with a bit of bad news: the French-speaking, French citizen Catherine Breillat, director of the French film, Fat Girl, was flying solo during her interviews for the day...
		Breillat’s points — the ones that I understood — were insightful and clever and more than enough to make for a good article.
		Sadly, though, fate conspired against me: the tape of the Breillat interview is a veritable jumble of sound; part vacuum, part woman with a heavy French accent.
	centerstage.net /stumped/articles/revisted-catherine-breillat.html (334 words)

	Catherine Breillat
		For Breillat, the visual display of sex is inseparable from the representation of the consciousness of her female characters.
		It was a situation Breillat spoke out about when she declared that, “censorship was a male preoccupation, and that the X certificate was linked to the X chromosome.” (3) Breillat's statement was echoed in the French poster for the film, which features a naked woman with her hand between her legs.
		However, Breillat's tendency to disrupt her own realist narratives is, I would argue, part of a larger concern to analyze not only the conventions of filmmaking that she is interested in negating, but also the ones that she is employing.
	www.sensesofcinema.com /contents/directors/02/breillat.html#bibl (3600 words)

	A Ma Soeur! Review (2001) (Site not responding. Last check: 2007-09-17)
		Catherine Breillat's film is an emotive study of the relationship between two sisters - 15 year-old Elena (Roxane Mesquida) and 12 year-old Anais (Anais Reboux); the former initially coming over as a selfish, sneering bitch who uses and abuses her overweight sibling.
		Anais' character turns self-perceived negatives into tools of self-help, and benefits the most from Breillat's haunting imagery; one scene at the beach is straight out of Von Trier's Breaking The Waves, showing Anais at her most vulnerable.
		In comparison to Breillat's previous films, A Ma Soeur is yet another censors nightmare though one feels bound to question the decision to cut an entire scene.
	www.thespinningimage.co.uk /cultfilms/displaycultfilm.asp?reviewid=591 (660 words)

	Catherine Breillat - Professor of Auteur Cinema - Bibliography
		Galland, Philippe (Director), Catherine Breillat and Philippe Galland (Screenplay).
		Perset, Antoine (Director), Catherine Breillat and Luigi De Angelis (Screenplay).
		Boisrond, Michel (Director), Catherine Breillat and Léo L. Fuchs (Screenplay).
	www.egs.edu /faculty/catherinebreillat.html (829 words)

	INTERVIEW: Catherine Breillat Opens Up About "Romance," Sex and Censorship
		Although this is Breillat's sixth film in 25 years, "Romance" is only the second to be distributed in the United States (by Trimark Pictures).
		Breillat: We were really nervous, but it was, in fact, really great.
		Breillat: This is an old cliche, but movies are both an industry and an art.
	www.indiewire.com /people/int_Breillat_Catheri_2A616.html (1409 words)

	Salon.com Arts & Entertainment \| "Fat Girl"
		That's the way Breillat, whose last movie was the almost militantly un-erotic sexual firecracker "Romance," works: She uses shock tactics to jolt you into position; once you've stopped shaking, your vision seems clearer than ever -- and your feelings more uncertain.
		Breillat repeatedly shows Anaïs chomping on long, thick marshmallowy strings of candy, as if they were her lifeline to the comforts of her fast-fading childhood; she's too sullen to be appealing, but too youthfully blobby, too as-yet-unshaped, to be despicable.
		Breillat knows that when an actor turns his or her back to the camera, we're not getting the complete view, and sometimes you need a full frontal to tell the story.
	archive.salon.com /ent/movies/review/2001/10/10/fat_girl (1374 words)

	Cinefile Search Result: Detailed Information for "Anatomy of Hell / Anatomie de l'Enfer" - www.cinephilia.net.au
		We are told on the flyer that "Breillat sets out to prove that all men are, at their core, misogynists.' Okay, if this is so, how come most of the comments on what is hateful about women come from the mouth of The Girl.
		Breillat said: “I'm interested in myth and transcendence and this cannot be compared with daily reality.
		I feel secure in that this is all there is to see, when suddenly, she lifts up her dress to reveal a bruised and bloodied vagina and anus, post birth.
	www.cinephilia.net.au /show_detailed_review.php?movieid=2294 (581 words)

	calendarlive.com: MOVIE REVIEW - 'Anatomy of Hell'
		France's fiery Catherine Breillat gets down to business fast in "Anatomy of Hell." A darkly beautiful woman (Amira Casar) wanders through a gay disco and touches a man (Rocco Siffredi), confident he not only will follow her to a restroom but see that she gets emergency room treatment after she slashes her wrist.
		Although Breillat succeeds in making many of her points viscerally as well as intellectually, her historical view of relations between men and women may not universally hold true any longer.
		Breillat announces at the start of her film that in some intimate moments she employs a body double for Casar.
	www.calendarlive.com /movies/reviews/cl-et-anatomy24sep24,2,669366.story?coll=cl-mreview (553 words)

	Une vraie jeune fille / A Real Young Girl / A Real Young Lady / Catherine Breillat / 1976 / Film review (Site not responding. Last check: 2007-09-17)
		When she isn’t rebelling against her parents’ austerity or exploring her own body, she realises that she is attracted towards a handsome young sawmill worker, Jim...
		Catherine Breillat’s first film is a provocative portrayal of a teenage girl’s sexual awakening, daringly explicit, in a way which most viewers will find distinctly unpalatable.
		Since making this film, Breillat has earned a reputation as one of France’s most controversial filmmakers, winning condemnation and praise in roughly equal measure for her uncompromisingly face-on explorations of female sexuality.
	frenchfilms.topcities.com /nf_Une_vraie_jeune_fille_rev.html (390 words)

	Catherine Breillat - Professor of Auteur Cinema - Biography
		Catherine Breillat is a Paris based filmmaker and writer who became famous for her distinctively personal films on sexuality, gender trouble and sibling rivalry.
		Breillat acted in Bernardo Bertolucci's Last Tango in Paris (1982) and wrote the screenplay for Maurice Pialat's movie Police (1984).
		Catherine Breillat is a Professor of Auteur Cinema at the European Graduate School in Saas-Fee, Switzerland, where she conducts an Intensive Summer Workshop.
	www.egs.edu /faculty/breillat.html (170 words)

	Hell's Angels: An Interview with Catherine Breillat on Anatomy of Hell
		Catherine Breillat commands a formidable presence – a woman at once coolly sensual and watchful, careful about her words and boldly assured in her delivery.
		The narrative set-up is both familiar and unique in the Breillat lexicon: an unnamed woman (Amira Casar) searching for her sexual identity becomes embroiled with an unnamed, misogynistic man (Italian porn-star, Rocco Siffredi), striking a contractual deal with him and igniting a psychosexual relationship that proves revelatory, volatile and ultimately explosive.
		Catherine Breillat: More than for desire, she is looking for her sexual identity, for her “self”.
	www.sensesofcinema.com /contents/05/34/breillat_interview.html (2094 words)

	village voice > film > Fat Girl director Catherine Breillat by Mark Peranson (Site not responding. Last check: 2007-09-17)
		Breillat shot cheaply in winter, with beach scenes in 50-degree weather.
		Breillat just published Pornocracy, a genealogical study tracing the history of the Greek term, meaning the rule of women over men.
		Breillat found her lead, not improbably, at a McDonald's, and discovered that body type does not determine self-confidence.
	www.villagevoice.com /issues/0140/peranson.php (788 words)

	Arts Today - 31/01/2000: Romance Catherine Breillat
		Catherine Breillat is one of France most interesting female film makers and quite a phenomenon.
		Catherine Breillat: She's a prisoner of her feelings, not the "traditional" notion of love.
		Catherine Breillat: It is the profound subject of the film.
	www.abc.net.au /rn/arts/atoday/stories/s101866.htm (2233 words)

	2004 Philadelphia Film Festival - Film Details (Site not responding. Last check: 2007-09-17)
		Cine-provocateur Catherine Breillat (Romance, Fat Girl) delivers her most confrontational — and astonishingly explicit — film yet, a starkly minimalist and graphic dissection of the male-female sexual dynamic.
		Catherine Breillat is among the most fiercely intelligent and courageous filmmakers in the world today.
		Soon a deal is struck: she will pay him to ignore his revulsion at the female form and come to her isolated seaside house to examine her body in the most intimate ways imaginable —- in the process, a new form of intimacy develops between the two.
	www.phillyfests.com /pff/2004/templates/film_details.cfm?id=2817 (431 words)

	SPLICEDwire \| "Fat Girl (Á ma soeur!)" review (2001)
		It's time for tormented French writer-director Catherine Breillat to spring for a therapist and stop inflicting her rape fantasies and sexual self-esteem issues on the movie-going public.
		This unblinking, lengthy and deliberately disquieting scene of persuasion and penetration is typical of Breillat who, to my knowledge, has never written about anything but disturbingly dysfunctional sex in her 30-year career as an author and filmmaker.
		Also par for the course is the way she builds an engrossingly melancholy, manipulative, emotionally complex relationship of jealousy and ridicule between the sisters that seems to be the centerpiece of "Fat Girl" -- then wantonly abandons it for a graphic, violent, prurient and utterly arbitrary twist that illustrates nothing and resolves even less.
	www.splicedonline.com /01reviews/fatgirl.html (530 words)

	French Culture \| Cinema \| Catherine Breillat: Fat Girl (A ma soeur!) DVd Contest / Criterion DVD October 2004
		Win a free DVD of French director Catherine Breillat's Fat Girl (A ma soeur!), compliments of the Criterion Collection and the Cultural Services of the French Embassy.
		From France's controversial director Catherine Breillat comes an examination of female sexuality told from a female point of view.
		Breillat brilliantly captures the prohibitions and temptations of teenage sexuality, especially the "war of the sexes" and the double standards and body image problems experienced by teenage girls.
	www.info-france-usa.org /culture/cinema/events/contest/breillatfatdvd.html (356 words)

	Romance Movie Review at Hollywood Video
		And though not as intellectually provocative as it might have been, this new film from 36 Fillette director Catherine Breillat nonetheless takes us on a striking, unforgettably carnal journey.
		Breillat's film has the deliberate, clinical look and feel of a sterile hospital operating room.
		Equally powerful are the long silences that Breillat sews through the film, punctuating Marie's alienated condition and, surprisingly, lending the film an icy, poetic beauty.
	www.hollywoodvideo.com /movies/movie.aspx?MID=128061 (763 words)

	Telegraph \| Arts \| Film-makers on film: Catherine Breillat
		Ever since she published her first novel, L'homme facile, to squeals of outrage in 1968, Catherine Breillat has been recognised as the sort of French intellectual who can be relied on to set our moral guardians working overtime.
		Breillat has encapsulated her beliefs about filmmaking in her latest movie, Sex Is Comedy (released here next Friday).
		He pushes his characters to the edge of the abyss." In particular, Breillat has been inspired by Oshima's 1976 Cannes prizewinner In the Realm of the Senses, not least because its unprecedentedly graphic scenes of sexual passion stirred up censorship rows and watch committees across the world – hence the jokey fake penis.
	www.telegraph.co.uk /arts/main.jhtml?xml=/arts/2003/07/19/bfmof19.xml (929 words)

	Catherine Breillat (Site not responding. Last check: 2007-09-17)
		Catherine Breillat is a Paris based filmmaker and writer who became famous...
		Catherine Breillat has 1 in-development credit available on IMDbPro.com.
		Find where Catherine Breillat is credited alongside another name
	www.imdb.com /name/nm0106924 (350 words)

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