Pascal Laugier em sua abordagem ao realismo:
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.
O peito de Anna parece que a mastectomia radical modificada foi realizada. A definição de Johns Hopkins (outro fonte com uma boa ilustração mostrando o que foi removido):
The entire breast is removed. This includes the nipple, the areola, the overlying skin, and the lining over the chest muscles.
Na produção de vídeo
o traje de pele é mostrado e o peitoral maior é visível, portanto não deveria ser removido (sem mastectomia radical ). O tecido não parece estar machucado, então não foi um trabalho de hack.
Mas por que eles fizeram isso dessa maneira?
Duas análises, conduzidas de diferentes ângulos, chegam a uma conclusão muito semelhante:
Para desindividualizar o mártir.
1) lado feminista
Existe um artigo científico sobre isso, mas Não consigo acessar:
Amy M. Green PhD (2011) The French Horror Film Martyrs e Destruction, Defilement, e Neutering of the Female Form, Jornal de Cinema Popular e Televisão, 39: 1, 20-28, DOI: 10.1080 /01956051.2010.494187
No entanto, um artigo do blog de Athena Genevieve (Mulheres violentas e vil em excisão e mártires: Feminism in Modern Horror Films) cita:
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).
Atena observa:
The film forces the audience to examine human cruelty and vulnerability beyond the usual parameters of gender and sexuality.
Nesse sentido, é interessante o que Pascal Laugier disse em entrevistas. Para Rob Carnevale de 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.
e para Lee Griffiths de 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) Em termos de plotagem
Isso foi tirado da resenha do filme de Simon Abrams para 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.
e
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.
Conclusão:
Isso não foi um erro dos cineastas, mas intencional. Também foi intencional pelos captores.
Pascal Laugier quer que sintamos o que o personagem principal sente.
Os captores querem que o mártir alcance esse estado de transcendência, pelo qual eles têm que desistir de tudo neste mundo e se tornar um com a dor e o sofrimento.