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Also consider the final scene, where young Anais (the girl of the title) is “raped” by a murderous stranger. By all accounts, the scene is graphic, nasty, and violent, yet the girl in jazz question willingly complies with the rapist, if not outright forces his hand. But because of her age and the nature of the interaction, it is clearly rape as we have come to understand the term. And yet, Anais jazz has participated in the act to a more significant degree than Elena. Anais is treated like a slab of meat and largely jazz dehumanized, but there’s a curious lack of pretense in the matter. The rapist, then, is pure, honest; for he has declared that what is to follow is about his needs, and he’s willing to hurt someone else to satisfy them. Elena, on the other hand, is led to believe she is participating, but is as much (if not more) a victim of brutality as Anais. It’s all in how we define our terms. Whatever one might think of the notion that sex, as practiced in the Western world, is almost always an issue of power and identity, Breillat is one of the few directors with the chops to ask the tough questions.
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