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He tells Elena what she wants to hear, bargaining with her illusions, and gets what he came for high school in the course of a long, painful, brilliantly acted scene, forcing himself on the girl while her little sister weeps silently in the other bed. Anais is an unlovable child, bitter with the early knowledge that, for her, love will always be unsatisfying. No doubt she can thank her impatient, workaholic father and coquettishly indifferent mother (marvelously played by Arsinee Khanjian) for this premature wisdom. Her only intimate relationship is with the high school sister whose mere existence is the high school 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 film blindsides us, in a final, terrible scene that 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 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.
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