36 FILLETTE (1988): "A French [Teen Virgin] 'Lolita'!"

Here's the IMDB description, written by JHailey, for 36 Fillette (1988), which the New York Post dubbed "The French 'Lolita'!":

Lili, a pouty and voluptuous 14-year-old, is caravan camping with her family in Biarritz. She's self-aware [...] but she has a wild streak and she's testing her powers over men [...] and she's impatient with being a virgin. She sets off with her brother to a disco, latching onto [Maurice] an aging playboy who is himself hot and cold to her. She is ambivalent about losing her virginity that night, willing the next, and determined by the third. 

Thus, 14-year-old Lili is described as voluptuous. To the dismay of feminists, Lili is described as powerful (over men). And Lili is ambivalent about being "devirginized".

Interestingly, Lili was played by 14-year-old Delphine Zentout and her multiple nude teen scenes are further examples of European filmmaker's non-reluctance to show nude nymphets in sexual situations (e.g., Topless 14-year-old Lili (Zentout) gave Maurice, played by 38-year-old Étienne Chicot, a hand-job and fellatio.).

And when you put the blurb on the film's poster from the Los Angeles Times, "Few films are more breathtakingly honest about sexuality. '36 Fillettes' rings so true...fresh and incisive," into the context of the film's description, "She is ambivalent about losing her virginity [...]", Lili's portrayal in the film should remove any naiveté about the sexuality of nymphets. 

In terms of seduction, ephebophiles should note that Maurice didn't pursue Lili. On the contrary,  on multiple occasions, Maurice gave Lili the option to end the age-gap affair, which, counter-intuitively, caused the Lili to chase after Maurice. 

Thought-provokingly, 36 Fillette was directed by Catherine Breillat and is based on her novel. Breillat also directed the age-gap relationship fairy tale Bluebeard (2009) [French: La Barbe bleue].

Lastly, despite the underage nudity and sex scenes, 36 Fillette was shown at the 1988 New York Film Festival. Maybe the folks at the New York Film Festival agreed with the Los Angeles Times' assessment that: "Few films are more breathtakingly honest about [teen] sexuality."

Breillat's A REAL YOUNG GIRL (1976): A Seductive French Nymphet

I wrote about Catherine Breillat's version of Bluebeard [French: La Barbe bleue] here, which is about the relationship between a wealthy middle-aged aristocrat and a French teen, whom he saves from a life of poverty.

Here's the plot summary for Breillat's A Real Young Girl (1976) [French: Une vraie jeune fille] that JHailey posted on IMDB:

August, 1963; Alice, 14, an only child, and physically well developed, is home for vacation. She's moody, silent, keeps a diary, and explores tactile sensations with broken eggs, candle wax, ear wax, vomit, urine, blood, and, perhaps, if the summer goes in one very possible direction, semen. 

Without her underpants, she walks about, rides her bike, and sits on the shore as the tide comes in. 

She drifts to her father's sawmill and makes eyes at Jim, a 20-something hand with a lean body and a model's face. What will Jim do, and does Alice want to do more than stare and fantasize?

Unsurprisingly, Jim was unable to resist the allure of a nymphet, and Jim and Amy began a sensuous age-gap affair.

A Real Young Girl (1976) is another controversial example of an actress of legal age playing the role of a (nude) nymphet. Charlotte Alexandra was 20-years-old when she played the role of Alice, a 14-year-old chit; however, the movie wasn't released until 24 years after it was filmed partially due to that controversial point.

I've yet to do a post on Breillat's Fat Girl (2001), but here's a preview. In one scene, a college aged male has anal sex with Elena, a 15-year-old high school student, while Anais, Elena's overweight 12-year-old sister looks on.

BLUEBEARD (2009): Only Marry Sincere Maidens

Here's part of IMDb's plot summary for Catherine Breillat's version of Bluebeard (French: La Barbe bleue): 

[In] the year 1697, as Lord Bluebeard (Dominique Thomas) prepares to make Marie-Catherine (Lola Créton) his seventh wife. Marie-Catherine's youth and innocence make her an especially attractive quarry to Bluebeard, and rather than murder her right away, he decides to wait a while in order to savor the terrible joy of claiming her life. However, as Bluebeard becomes caught in a cycle of events that keep him from following through on his wife's murder, the two slowly become something like a normal couple and Marie-Catherine begins to turn the tables on her spouse.

Catherine Breillat's version of Bluebeard (French: La Barbe bleue) is yet another example of an ephebophile playing the role of Captain Save a Ho Nymphet.

Bluebeard doesn't understand that natural looks are one of the least important characteristics of an ephebophile but that as long as a man is neat and clean, his mental make-up is the most important characteristic that is needed to marry a nymphet.

For example,  possessing a high self-confidence, having self-control (i.e., power), and being focused (i.e., consistently being in The Now) are far more important than being apparently "handsome".

Bluebeard is self-conscience about his "unattractive" looks - especially his blue beard; therefore, after Marie-Catherine's father dies and leaves her with no dowry, Bluebeard invites Marie-Catherine, her sister and a bevy of other poor maidens to the castle. Bluebeard is "generous" and is willing to help one of the nymphets escape poverty through marriage - without the need of a dowry.

Despite their wide age-gap, Bluebeard's blue beard, and his low self-esteem, Marie-Catherine is extremely eager to marry Blue Beard. But not because she is (initially) attracted to him. Like most nymphets, Marie-Catherine has an agenda, which is that she wants to escape poverty. And like most Captain Save a Ho Nymphets, in the end, Blue Beard suffers greatly due to Marie-Catherine's initial insincerity.