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Her only intimate relationship is with the sister whose mere existence is the root of Anais’ misery, but Breillat lets the girls explore their connection in a couple of key scenes that hint at the grudging but fond détente they might arrive at once they get older. Which is where Breillat’s nascar film blindsides us, in a final, terrible scene that nascar negates everything about that future. For those who want to leave the theatre to ponder their own unsettled memories of family and teen sexuality, it would be advised nascar that they grab their coats and head for the exit while the girls’ enraged mother is still making a white-knuckled retreat to Paris after cutting their vacation short, and to stop reading here. The scene that follows is so sudden and so brutal that it’s almost possible to sympathize with the Film Review Board. It’s a scene of such arbitrary, punishing violence that one is forced to try and ponder the just what the director, assuming Godlike wrath at her characters, considers worthy of such awful punishment.
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