Fighting a Battle to Find What Evil Really Is

White Oleander is a film directed by Peter Kosminsky following the journey of a girl named Astrid, isolated in a world though she is surrounded by people. After her mother, Ingrid, kills boyfriend, she is sent off to prison, leaving Astrid to fend for herself (which the audience soon learns, wasn't the first time). Astrid is sent to live with a foster home, which at first, though not completely right, seemed livable. Without meaning to, Astrid becomes the breaking point of this home. As Astrid's traumatic experiences continue to accumulate, she is continuously confused as to what "evil" really is.
There are many moments throughout the film where the director makes an emphasis on certain things, just by the way he's telling the story. When Ingrid shows Astrid the Polaroid collage, there is a moment of epiphany for the audience, where they can foresee the future. Kosminsky emphasizes Astrid's isolation; "lonely", though she is surrounded by others. Another example where the director creates a visual illusion for audience, is how he creates this parallelism between Astrid and her mother, emphasizing how they are in the same boat. When Ingrid is riding the bus off to prison, thinking of her Astrid, the frame has a background consisting of parallel lines running diagonally. The frame fades to an image of Astrid, with similar parallel diagonal lines, waiting to see her mother in prison, reiterating their togetherness and connection, though they are both alone.
In part 4 (http://www.youtube.com/watch?v=Z9Cx4a4hiUo), starting at about 8:00, the audience can immediately sense the tension between Astrid and Ray. After this, the tempo changes a bit. All the trauma Astrid is going through is snowballing. Surrounded by violence and disrespect, she's bound to have problems in her future. It's no wonder she's disinterested in guys. Since she was born, she's constantly been disappointed by men (her father, or lack thereof, most importantly).
Kosminsky has a unique way of conveying a certain feeling to the audience. For example, after Astrid tells Paul that he's an artist, not just a cartoonist, there is a shot of a roller coaster: a metaphor of Astrid's journey, continually meandering, rising and falling. Sometimes this style of delivery makes more of an impact. Continuing her journey, Astrid meets Claire, which gives her hope for life and a happy home. When the two meet, the audience is relieved for a moment, sensing Claire's positive nature. Equally, however, the audience can sense that her husband may be unfaithful/untruthful. Though there is sign of light, the audience shouldn't get to comfortable, because they won't be there for long.
In part 8 (http://www.youtube.com/watch?v=ZPt9lSaTHZo), starting at about :20, when Ingrid and Claire meet, the tension is raised so high, that the audience is overcome with discomfort. Trying to win Ingrid's approval, Claire compliments her art, saying she reallly likes her work. Ingrid, just trying to be as difficult as possible, asks her "Oh really? Which ones?" When Claire mentions the Polaroid collage, you can see the evil in Ingrid's eyes, when she asks why she liked it. Without really knowing an answer, Claire just says, "Because it's great!" At the beginning of the film, Ingrid states, "You can't be an artist if you don't see." This is grade A evidence to Ingrid that Astrid should not be with her. She is constantly digging for things to hurt Claire, trying to find some way to break the connection between Astrid and Claire. Everything around Astrid is falling apart. Literally, everything that is important to her, stripped away. She eventually has no choice but to lose all hope for any sort of consistent support.
In the final moments, Kosminsky creates another illusion to leave the audience with. By having Astrid, all in black, as if she is now tainted, almost stained with despair, taken over by these traumatic experiences, contrasting with her mother dressed all in white, Kosminsky creates the metaphor that now that she has "let Astrid go," Ingrid has become more pure, and has successfully identified evil.