Une vraie jeune fille

The film is very unusual at times and its sheer sexuality often gets too heavy. However it is certainly worth seeing, simply for its madness. And for the smoking hot Charlotte Alexandra. She alone is worth the price of admission. Shocking that the film's release was held up until 2000 (25 years later!) due to budgetary problems.

Very internalized... ...like the subject matter.

Interesting topic; possibly even unique. But one portrayed in a meandering, long, and drawn-out manner that highlights the problem of French cinema- -being that most French films wouldn't pan out and be fully fleshed if released as two-and-a-half-minute pop videos.

Objectivity is something rarely seen in films nowadays; unfortunately, rarely seen anywhere in the media nowadays. But I'm not sure if this is an ethos that should be applied to film, because an engaging movie it does not make.

This is a type of film where reading the description of the movie is more thought-provoking and interesting than actually having to sit through it. To sum up, the film should have been titled "Une Vraire Vagin Pourri".

If the sexual awakening of a teenage girl wasn't already a heavily-subversive, abstract concept, then Catherine Breillat's A Real Young Girl can be viewed as one of the damnedest depictions of one of the most damning subjects in cinema history. Catherine Breillat's, who later became renowned her focus on the sexuality of a teenage girl, first film can be viewed as an unabashed masterpiece or a choppy piece of transgressive cinema depending on how you view it. The film possesses some very strong sequences, features a lead actress who is given so much to do and yet so little, and its approach is only odder and more convoluted the more you watch it.

There's a certain mysticism to A Real Young Girl, thanks to the way it approaches its subject which has been identified by some online reviewers as "surrealism." If I employ the term "surrealism," I stutter when trying to define what I mean. Surrealist cinema is one of the many undefined terms in cinema, right up there with mise-en-scene, and the only thing I can manage to conjure up for my interpretation is the use of shocking or ambiguous imagery mixed with a dreamlike effect. According to my own personal definition, A Real Young Girl fits right in under surrealist cinema, concerning Alice Bonnard (Charlotte Alexandra), a fourteen-year-old girl who returns home from a boarding school in France on summer break. She discovers her father has hired a young handyman named Jim (Hiram Keller), who Alice immediately takes a liking to. She begins having graphic sexual fantasies involving Jim, one of which has power to shock you raw and should not be spoiled here. Alice continues with these elaborate yet simultaneously choppy dream sequences, where she seems to hunger for the most explicit sex. Certain flashbacks even involve her masturbating in her younger years, with one scene in particular showing her utilizing a spoon for aid in masturbation.

Breillat is absolutely fearless here, constructing several fantasies in order to achieve a combination of shock and insight into the psyche of a teenage girl. It is this precise approach that has kept her a reputable French director even in modern times. Charlotte Alexandra only elevates this material, often utilizing blanks stares and fits of pleasure for added effect. Her character, however, is pretty vapid, not connecting with many other individuals and only living in this world of dizzying flashbacks and uncertain explicitness. One wonders how young Alice behaves at school and if these sexual tendencies continue in the crowded dormitories back there.

The biggest issue with A Real Young Girl is its greatest strength, which is its abstract depiction of the life of this young girl. The film is a handful, often incoherent, sometimes maddening, and occasionally boring as its artfully tries to obscure what exactly is happening on screen and sometimes leaving Alice behind in a film that directly focuses on her. Breillat has always been a director that leaves a great deal of contemplation on the viewer. Consider her later film Fat Girl and how its graphic, tragic ending could be interpreted in several different ways.

Now imagine that as the entire basis for A Real Young Girl; a film where every scene can be interpreted a handful of different ways. There's nothing wrong with ambiguity in a film, but when a film is predicated so much so off of the ability to deceive and play with the viewer, then its core idea and takeaway points become a muddle. The only thing I can think of is that this film is a showcase for the sexual awakening of a teenage girl in in explicit and heavily graphic form, but Breillat didn't go through all this trouble to make a simple showcase. There needs to be something more and the answer can only be found with either a second or third viewing or the exploration of several different analyses.

Starring: Charlotte Alexandria. Directed by: Catherine Breillat.

This film is rather difficult to review because it doesn't really have a plot to speak of, and it's clear that director Catherine Breillat was more keen on focusing on the art elements and detailing the sexual developments of a young girl than telling a story. This is the first film I've seen from Catherine Breillat, but given what I've read about her; it would seem that she enjoys directing films that focus on sexuality, and that would seem to be the case if this film is anything to go by. A Real Young Girl focuses on Alice Bonnard, a 'well developed' teenager who attends a boarding school and is spending the summer at her parents' house. She enjoys experimenting, and has a particular fascination with fluids, as she experiments with all sorts including urine and ear wax, as well as egg yolk and tanning cream. She becomes fixated on a man employed by her father, as well as a couple of other local men and her father, and the film basically follows her summer as things happen to her parents and she develops sexually.

Unlike most exploitation films, this one takes place from the woman's point of view, although the idea that all men are sex-obsessed perverts certainly shines through, and I wouldn't be surprised to find out that Catherine Breillat is a devout feminist, as there isn't one single decent male character in the whole film. The film rests a lot on its star Charlotte Alexandra, and she doesn't disappoint. Her performance is thoroughly realistic, and she also looks rather tasty, which is sure to delight the male viewers. I have to admit that I was expecting to be shocked going into the film, and while A Real Young Girl is liable to offend less well versed viewers; it would seem I've seen too much of this stuff as nothing in the film seemed too over the top to me. Catherine Breillat clearly isn't afraid to shock the viewers, however, as the film features plenty of nudity and other perverse scenes. The film features no suspense and the plot really just plods along, but it's well paced and while you know that the ending isn't going to provide much intrigue, it doesn't matter as anyone looking for a sexually charged film is likely to be satisfied.

Catherine Breillat has gained, over the years, a reputation as a particularly provocative female writer - director, and she certainly lives up to that description right from this 1976 film, her directorial debut. Although there is nothing really new here thematically, what makes "Une Vraie Jeune Fille" unlike probably any other coming-of-age film up to that time is Breillat's almost microbiological obsession with touchable things and bodily fluids, including flies, eggs, trees, wax, blood, vomit....and others you can imagine. Charlotte Alexandra is voluptuous and sensual in the title role, but after a while the lack of script becomes painfully evident. ** out of 4.