"Brutal and very funny. I love its defiance. I look forward to each new Catherine Breillat film."

"A book analyzing the films of French director Catherine Breillat, one of my favorite directors, is infinitely fascinating for how it dissects her treatment of subject matter: desire, shame, body image and male/female power struggles as sexuality."

"I actually prefer the French title, À ma soeur! (To my sister!). I think that some people see Catherine Breillat as a theoretical director, but I think of her as a humanistic one, and you get that from the title. The sister in the film is trying to fit into this family, and the way that Breillat looks at her is so beautiful. The girl is yearning for physical contact in such an intense way."

"I would probably say À ma soeur!, the Catherine Breillat film. If you could put that title instead of Fat Girl. I’m just kidding. I don’t really like saying my movie is related to that. I do think Catherine Breillat is brilliant and her movies have so much psychological weight to them. Those two sisters, they’re just, like, titanic, in terms of the conflict between them. The sexual scene with the boy is one of the most charged, terrifying, strange, impossible-to-describe scenes ever, that long take. The sort of depth of… Anaïs? The main girl? Just the depth of her look, how significant her neutral look and gaze is. Her stare is one of the best stares ever. And I stole the swimsuit from that movie and put it in my movie. I just completely stole the lime green one-piece and put it in my movie. I just love Catherine Breillat. I just think she’s incredibly smart. It’s very exciting, and it’s a sign of a really incredible director to show how much tension and tone can be wrought out of a scene of a younger sister staring out of her covers at her older sister from the bed across the room. It’s kind of incredible how powerful and charged that movie feels before it becomes insane at the end. To me, the brutality and shock of the ending, I was feeling throughout the entire movie. It’s just crazy when it shows up literally."

"For some reason, Maurice Pialat doesn’t get the same attention here in the States as his contemporary Cassavetes. But I feel he deserves just as much. Without this film, we wouldn’t have Sandrine Bonnaire, and the complexity of the family dynamic is like nothing I’ve ever seen before on film. I’m proud to be neighbors with Tom Stevens, the actor who played the young American tourist. We were speaking in our New York City apartment building stairwell, and Tom told me that he had been in “a little film that you probably never heard of called À nos amours”—I nearly fell down the stairs. The extras are fantastic on the release, including an interview with Catherine Breillat."