In "The Help," as the "white-trash" housewife who learns to see through the false values of the upper-crust Junior League in Jackson, Mississippi, Chastain thrashed through her scenes with a beautiful awkwardness, as if her body were made of mismatched parts. In "The Debt" she's lithe and eloquent. The one female member of the Mossad team must subject herself to the Nazi doctor's gynecological examination. You can see her fear and mortification -- and her determination -- in Chastain's eyes, and when she finally drops her disguise, the performer expresses, in swift, galvanizing movements, the liberating power of the truth. These visits to the Nazi OB-GYN outdo the trip to the Nazi dentist in "Marathon Man."