Hanna vs Camera Obscura
In the escape scene from Hanna(2011), one of my favorite films, the main character reacts to being interrogated and surrounded by cameras with seemingly unexplained violence. (Spoilers)
Hanna asks to see a woman named Marissa Wiegler but is presented with an imposter.
Her first interaction with any adult besides her father shows to her clinical insincerity, newfound captivity, manipulation, lies. She is wearing the orange jumpsuit of a prisoner.
Hanna begins her escape by pretending to cry; for a moment the audience is left to assume her tears are real. The imposter consoles Hanna in a motherly fashion; the imposter is the first woman Hannah has ever met.
The tender moment ends abruptly. Hanna kills the imposter Marissa Wiegler, exploiting the embrace to commit brutal murder. Hanna then kills several of her captors and, with a newly stolen gun, shoots the cameras one by one. When she shoots the final camera, the gun is pointed directly at the audience, via the very camera the film's audience sees her through.
Shooting the camera is a practical part of her escape but also shows the audience that Hanna knows the antagonist, the real Melissa Wiegler, is controlling the panoptikon. On a symbolic level Hanna kills not only her captors, but the mechanical eye which enables the audience and villain to scrutinize without reciprocity or permission.
The audience are implicit participants in Hanna's hyperreality, a complex system which has imprisoned an ostensibly innocent, idealized teenage girl. Hanna, has been raised to be a fighting machine, a pitiless weapon of unusual strength. Her father, a symbol of kindness and righteous rejection of hypermodern life, has prepared her to respond by destroying that which would control her power. Hannah is attacking even the society which created the technology that enables her to so effectively attack.
In this respect, Hanna is a horror movie as much as it is a fairytale. The main character is the monster, and the audience is meant to feel threatened, even as they relate to or root for her. In the final scene, Hanna once again shoots the audience, as she shoots the real Marissa Wiegler.