The family dynamic is awful and presented in just the right way. The conversation between Tom and Sally is fairly obvious evidence that the latter is concerned about the former and his increasing closeness with their growing daughter. If you don’t know the story, it can come off as separate ideas. Maybe Sally was just concerned about her daughters sexuality combined with her lack of socializing with others outside of her dad. Two separate concerns. But the disgusting molestation that happens afterwards is a confirmation of our worst fears. When young Jessica later breaks the glass and Sally looks at the situation like she’s shocked, you have to ask if she’s willingly just discounting the evidence or if she’s actually not connecting the dots. The haunting realization that its most likely the former is what adds to the layers of tragedy at play. It’s another example of the way we taper over issues to kind of get on with the day.
2. The eclipse scene and the distinctive color scheme keeps the trauma front and center. It’s distinctive both as a phenomena but also as a turning point in Jessica’s life. As the moon covers the sun, the light from enveloping her anymore, she finds herself stuck in an awful situation. The moonlight man intrudes in her space and denies her agency again. It’s why the ending is so important. By saying the moon isn’t as big as she thought, she’s directly talking about how she’s given too much importance to the trauma’s that’s inhibited her life up to that point. It’s not that she ignores it or pretends it didn’t happen. It’s that she realizes the only way to move forward is to take control of it.