Léon is an uncomfortable film. Everything about it is disruptive and chaotic. In fact, the first scene starts off with a multitude of extreme close ups, encompassing the restless atmosphere that surrounds Léon. For Leon is a hitman with the Italian mafia in New York in the 1990s. Such uncomfortableness resonates throughout the film, as his unhinged routine becomes disjointed when a smart, young girl, Matilda, forces herself into it.  This makes his whole life a lot more complicated, and Matilda does not shy away from this. She latches onto his lifestyle, because even though he has a cruel existence, it’s still kinder then the one she has been brought up in. The director then throws us into the deep end. But no one is to blame for the young girl falling in ‘love’ with the strong, protective man. For Léon, his love for Matilda is the kind of caring love that she needed. So, even though there are points in the film that are hard to watch because of the awkward nature – we need to endure them, just like Léon – because they are needed for Matilda’s development and the contextualised narrative that Luc Besson has created for us. This is mirrored at the end of the film, as metaphorically and literally, Léon sacrifices himself for Matilda’s progress in life.