The film "The Holy Girl", directed by Lucrecia Martel, has been a topic of discussion regarding the representation of childhood experience in cinema. It certainly pushes the boundaries of the perspective of Latin American cinema and the representation of the relationship between adolescent and adult male. Of great importance is this scene where Amalia is touched inappropriately by Jano during a musical show in the city center. The scene is crucial to revealing and understanding the film's main conflict and represents the starting point of the almost perverse relationships that continue through the film. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay The scene is one of the few that takes place outside the hotel, in which much of the plot develops. It begins by showing a group of people attending the performance of a musician who plays the 'theremin', which attracts the attention of Amalia and her friends who approach almost imperceptibly. A deep focus shot emphasizes the existence of movement in the immediate vicinity, such as people and cars passing by, creating the perfect moment for someone to approach and try to go unnoticed among the noise. The same shot from the actor's point of view would show Jano approaching from behind and standing behind Amalia rather discreetly. The next cut is short, an over-the-shoulder shot of the performer would reveal the origin of the music, which is quite peculiar as there is no direct 'touch' between the player and the instrument itself. A close-up of Amalia's face, although expressionless, seems to reveal her fascination with sounds. At the same time, the next cut frames the central part of Amalia and Jano's body. He begins to approach and lean on Amalia's ass, putting his hands in his pockets with surprising delicacy. The ease with which he carries out these actions reveals, in the background, that this was not the first time he took part in such an assault. Again, a 25 second close up on Amalia would show that she has multiple thoughts running through her mind, including her trying to think of an answer while there is a sparkle of sunlight on her face that comes and goes two times. The wait creates a lot of suspense and disturbance on the part of the spectator. The viewer is unsure whether Amalia will take revenge or draw attention to them. Amalia freezes and doesn't move until she decides to look at Jano's face again. In the next montage, Jano tries to run away from the scene, though it's clear he gets nervous and changes direction in an instant, which gives Amalia enough time to capture his face in her mind. At the end of the scene, the same shot of Amalia's face shows Josefina looking at her and Amalia responding only with a smile. Throughout the scene, suspense and anticipation build for viewers through the lack of dialogue. By keeping the scene silent and having only the noise of the performance in the background, the viewer is drawn into the scene. It's slightly mesmerizing, with the soft music and the kinky nature of the subject matter. Viewers are inclined to look away, but they cannot. The scene represents a unique type of humiliation for Amalia. She is not humiliated in the minds of those around her because they do not witness the attack, or perhaps they do and do not react, but all of this still happens in broad daylight surrounded by others. There is a loss of innocence on her face, as the viewer sees her trying to make sense of what is happening to her. There is a strong power dynamic on display here. Even though there are so many people in.