<PERSON>
I was originally unsure what to make of the ending, which seemed like it may have existed primarily to shock, but <PERSON> makes a very strong case as to how the film contrasts two different losses of innocence (the provocation is therefore not in the suddenness and violence of the ending, but that <PERSON>'s initiation is actually less painful than <PERSON>'s).
The encounters between <PERSON> and <PERSON> are wonderfully shot, playing out mostly in tense long takes but cutting to <PERSON>, peeking between her fingers one instance and sobbing, back to her sister, in others. I was also impressed by <PERSON>'s lighting in this scenes and her tendency to blowout faces and play with light and shadow against walls. <PERSON>'s style is quite simple in the sense that her shots are not themselves complicated or flashy, but she mixes them brilliantly to control the tone of the film and point the viewer to certain thematic parallels and upset simple interpretations. 529