This shot is the first time the girl is framed with complete symmetry, marking a clear shift in how she is positioned within the narrative. Earlier scenes always place her off-centre or in reactive compositions, but here she stands directly beneath the sigil, which effectively “crowns” her and reinforces her role as the fourth chosen figure within the symbolic structure established earlier in the film. Crucially, this is also the first moment where it becomes undeniable that she no longer carries the lighter. The film never shows her dropping it, and she is briefly seen without it in a prior scene, but this shot is the first in which its absence becomes absolutely clear.
The surrounding palette is the warmest it has ever been around her, supporting the idea that she no longer needs the lighter as an agency tool: she has already ignited the fire, and the house itself now provides the warmth and illumination she once relied on. As she walks directly toward the camera, she occupies more visual space than in any previous shot. While this is a natural consequence of her moving closer, it also supports a symbolic reading of her increasing self-possession and certainty. This expansion of her presence sets up a deliberate contrast with the following shot, where her agency is visually and narratively challenged once again.