Varför ser denna karaktär ut så här efter behandlingen?

From Human Breasts

The breast is the tissue overlying the chest (pectoral) muscles. Women's breasts are made of specialized tissue that produces milk (glandular tissue) as well as fatty tissue. The amount of fat determines the size of the breast.

Så bröst är bara några vävnader, så sköljning kommer att ta bort eventuell vävnad i människokroppen, om kvinnliga kropp det kan ta bort bröst också. Det finns inga ben i bröst.

Som du kanske förväntar dig, är det svårt att peeling huden av en hel människa.

Pascal Laugier på deras approach till realism:

I really wanted all my effects to be almost medical. To be as realistic as possible because the film is not a rollercoaster, it's supposed to be about the flesh, the real condition of the body when you hurt yourself, and you know in real life when you torture your body it's already impressive enough not to need you to go over the top. So what you see now on screen could be really true. We even used some medical documents that we took from real life to keep it as realistic as we could.

Annas bröstkorg ser ut som om modifierad radikal mastektomi har utförts. Definitionen från Johns Hopkins (en annan källa med en bra illustration som visar vad som tagits bort):

The entire breast is removed. This includes the nipple, the areola, the overlying skin, and the lining over the chest muscles.

Vid tillverkning av video

hudkostymenvisasoch pectoralis major är synlig så att den inte skulle tas bort (ingen radikal mastektomi ). Vävnaden verkar inte vara skadad, så det var inte ett hackjobb.

Men varför gjorde de det här?

Två analyser, utförda från olika vinklar, kommer till en mycket liknande slutsats:

Till deindividualize martyren.

1) Feministiska sidan

Det finns en vetenskaplig tidning om det, men Jag kan inte komma åt det:

Amy M. Green PhD (2011) De franska skräckfilmmartyrerna och förstörelsen, försvinnandet och neuteringen av kvinnformen, Journal of Popular Film and Television, 39: 1, 20-28, DOI: 10,1080 /01956051.2010.494187

Men en bloggartikel av Athena Genevieve (Våldsamma och Vile Women in Excision and Martyrs: Feminism i Modern Horror Films) citerar det:

Anna is never “sexualized” (Green 22) during her torture. Rather through the destruction of her body the audience witnesses “gender regression” (Green 24) as opposed to eroticization. Like the other victims, so brutalized they appear “barely human” (Green 21), Anna becomes “increasingly less identifiable as female” (Green 24). It is in the “skinning…and final neutering” (Green 25) that Anna ceases to appear to be a woman at all, with her “breasts and external genitals removed” (Green 25).

Athena noteringar:

The film forces the audience to examine human cruelty and vulnerability beyond the usual parameters of gender and sexuality.

I det avseendet är det intressant vad Pascal Laugier sa i intervjuer. Till Rob Carnevale från indiLONDON :

I wrote it on a very first-degree level. I felt very close to what my characters are living in a metaphorical way. I have no distance from this film. It’s very personal.

och till Lee Griffiths från Eye for Film :

It’s not a film about torture. It’s a film about suffering. I really needed the audience to feel the pain, to reach our limits, so maybe it would reach another level after the pain, like my main character does, reaching some transcendent state.

2) Plot-wise

Detta tas från Simon Abrams filmöversikt för Slant Magazine :

The “other side” can only be reached, according to Lucie’s captors, by victims of violence that is so extreme that they can no longer perceive the mundane world. They must be young and they must be female (so says the older woman organizing the experiment). These “martyrs” can no longer see people (let alone their race), but to reach that point of transcendence, they have to first undergo a process of “other"ing, which in this case involves non-stop beatings.

och

These girls must first be completely alienated and once they’ve been physically and emotionally broken down, they have their “other"ness and all other traces of their identity forcibly ripped away from them. This means literally losing their skin, the flesh ripped away to reveal glistening tendons and muscles. Any possible sign of their race or gender is thus completely removed, turning them into so much unidentifiable flesh. First the martyr becomes an “other,” then they become nothing.

Slutsats:

Det var inte ett misstag av filmskaparna, men avsiktligt. Det var också avsiktligt av fångarna. Pascal Laugier vill att vi ska känna vad huvudpersonen känner. Fångarna vill att martyren ska nå det transcendensläget, för vilket de måste ge upp allt i denna värld och bli en med smärtan och lidandet.