Ok that mirror cave scene. Almost one year later and I'm still stumped. Every time I think its Kylo behind the mirror, all my friends just laugh. Like WHAT DOES THE SCENE MEAN??? (Sorry for yelling lol but I just got attacked on YouTube again for saying its kylo)
Hey Nonnie!
Okay, first of all, hugs. You’re a lot braver than I am lol. The comments section on YT scares me. I’m sorry your friends react like that and I’ve been there. It’s a little bit funny how people get when it comes to SW discussions and while some corners of the fandom are really great about at least entertaining new/conflicting ideas, others are not (and I’ve had the same sort of experience offline, so double hugs).
Anyways, big thanks to SW_Heroine_Journey on the Reylo forums for always being a gem and for the rec! This Reylo Meta was the exact meta I was thinking of but just could not find!
@clairen45 has done some amazing work here, as ever, and this meta has lots of great information to consider:
Of course, the first degree of the analysis is very much about the classical “know thyself”, the quest for identity. She first gets an infinity of replicas of herself, before asking the mirror to “show them” to her, fingers barely touching the surface. Then, two dark figures walk towards her, gasp, fuse, re-gasp, somewhat look like someone that could be Kylo, major gasp, and then turn into her own reflection. Disappointment. For everyone and not just Rey. The story is very much about herself. To come back to previous references, she is like Belle roaming the castle: the mirror is cracked, reflecting many possible identities and lives for her.
And hell breaks loose because the whole story is a flashback she tells Kylo, who becomes her mirror image in the flesh, sitting on the same terracotta stools, holding out the hand, fingers barely touching the surface, her tear mirroring the scar on his face. As itself, the first degree is revealing enough. What she has come to find in the mirror is Kylo himself, whether we see him or not reflected there. Here he is, minutes later, and the scene speaks for itself. We also get another added power associated with the mirror, when they both get visions through the encounter, apparently of the past for him, and of the future for her.
This final paragraph, in particular, just hammers things home in a really succinct way:
Because she failed to find the appropriate reflection in the mirror, she goes and seeks the one that she needs.We DON’T NEED to get Ben/Kylo in the scene. We shouldn’t get Kylo in the scene because it is much better that she goes identifying him as the true object of her need and desire on her own, outside of the mirror.
This is a great subversion of the mirror trope in the heroine’s journey. It is not in the mirror that she really learns to know herself, what she needs, what she wants or who she is meant to be with. It is not in a mirror that she gets visions of her fate, her future, or any access to power. She gets ALL THAT when she touches fingers with Kylo: that’s her real mirror scene. And it’s one that she chooses, initiates, provokes: she is the one looking for him after the cave scene (from the novelization), she is the one talking and framing the discussion, she is the one initiating the touch, and dragging him inside HER frame, and not the other way around.
Anyway, hugs to you, Nonnie! The whole meta is brilliant and I highly recommend it, also, screw the haters <3
“The first thing I talked about with Rian was the mirror cave . . . What are Rey’s conflicts? This image reflects a little bit of the Kylo/Rey Force connections, as well as the duality of light and dark, good and evil. Some of these were being pulled from what I knew of The Force Awakens, but also little glints of information from Rian and mirroring the cave in Empire.” — James Clyne, VFX art director, The Art of Star Wars: The Last Jedi
“The idea is this island has incredible light and the first Jedi temple up top, and then it has an incredible darkness that’s balanced down underneath in the cave . . . In this search for identity, which is her whole thing, she finds all these various versions of ‘Who am I’ going off into infinity, all the possibilities of her. She comes to the end, looking for identity from somebody, looking for an answer, and it’s just her.” — Rian Johnson (x)
“The idea that if there’s a Jedi Temple up top, the light, it has to be balanced by a place of great darkness. We’re drawing a very obvious connection to Luke’s training and to Dagobah here, obviously. And so the idea was if the up top is the light, down underneath is the darkness. And she descends down into there and has to see, just like Luke did in the cave, her greatest fear. And her greatest fear is [that], in the search for identity, she has nobody but herself to rely on.” — Rian Johnson (x)
Some (long, rambling) thoughts on the mirror cave sequence below the cut.
Rian certainly took a page from the heroine’s journey and mined some Carl Jung here. In this post I’ll discuss the mirror cave and hut scenes and how they trace the “crossing the threshold” and “wedding the animus” steps. In a future post I’ll discuss Rey’s confrontation with Luke as the “confronting the powerless father [figure]” step.
crossing the threshold: descent to “a dark place”
“There's something else beneath the island … A dark place.”
“You went straight to the dark.”
“That place was trying to show me something.”
For an excellent read on the heroine’s descent, see “The Descent: the Heroine’s Journey in The Force Awakens” and “Bride of the Monstrous: Meeting the Other in the Force Awakens” by @ashesforfoxes.
the heroine’s journey and the animus figure
A quick summary of some relevant Jungian concepts follows.
While the male hero goes on an active quest as a rite of passage (involving some physical feat like slaying the monster), the heroine goes on a more inward-focused quest (reconciling the monster within). The heroine’s journey involves an awakening within herself, by descending to a place where she can liberate her inner goddess.
In The Feminine in Fairy Tales, Jungian scholar Marie-Louise von Franz reminds us that this journey within is fundamental to the process of the heroine’s individuation, that it is “a time of initiation and incubation when a deep inner split is cured” by descending into the unconscious.
In The Heroine’s Journey, Maureen Murdock describes this descent as a “journey to our depths” that “invariably strengthens a woman and clarifies her sense of self” because it is a process of “looking for the lost pieces of myself” or seeking to complete oneself. As Murdock writes:
Persephone is pulled out of the innocence (unconsciousness) of everyday life into a deeper consciousness of self by Hades. She is initiated into the sexual mysteries … She becomes Queen of the Underworld.
Similarly, Rey is compelled to descend to that dark place underneath the island where she is pulled into a “deeper consciousness of self” mediated by her Force bond with Kylo. “That place was trying to show me something.” Note, “dark” here is not “evil” but it can show us something about ourselves (for instance, our greatest fears) as it represents the unconscious part of our psyche.
Persephone’s descent into the underworld is when she faces the unknown and matures. She had to leave her family and the familiar, namely the world above ruled by her mother Demeter in which she was kept in an infantile state of girlhood. The world below with Hades is where she accesses what Jungians call the animus and actualizes her selfhood as a woman.
So what is this animus? The anima and animus are “soul-image” archetypes projected onto a person typically of the opposite sex. The animus represents the masculine aspects of the female psyche. As von Franz tells us in The Feminine in Fairy Tales, the animus “has to do with ideas and concepts” and in fiction is typically represented by a man. In her essay “The Process of Individuation” in the Jung anthology Man and his Symbols, von Franz notes:
A vast number of myths and fairy tales tell of a prince, turned by witchcraft into a wild animal or monster, who is redeemed by the love of a girl—a process symbolizing the manner in which the animus becomes conscious. ... Very often the heroine is not allowed to ask questions about her mysterious, unknown lover and husband; or she meets him only in the dark and may never look at him. The implication is that, by blindly trusting and loving him, she will be able to redeem her bridegroom. But this never succeeds. She always breaks her promise and finally finds her lover again only after a long, difficult quest and much suffering.
The parallel in life is that the conscious attention a woman has to give to her animus problem takes much time and involves a lot of suffering. But if she realizes who and what her animus is and what he does to her, and if she faces these realities instead of allowing herself to be possessed, her animus can turn into an invaluable inner companion who endows her with the masculine qualities of initiative, courage, objectivity, and spiritual wisdom.
The animus, just like the anima, exhibits four stages of development. He first appears as a personification of mere physical power--for instance, as an athletic champion or “muscle man.” In the next stage he possesses initiative and the capacity for planned action. In the third phase, the animus becomes the “word,” often appearing as a professor or clergyman. Finally, in his fourth manifestation, the animus is the incarnation of meaning. On this highest level he becomes (like the anima) a mediator of the religious experience whereby life acquires new meaning. He gives the woman spiritual firmness, an invisible inner support that compensates for her outer softness. The animus in his most developed form sometimes connects the woman’s mind with the spiritual evolution of her age, and can thereby make her even more receptive than a man to new creative ideas. It is for this reason that in earlier times women were used by many nations as diviners and seers. The creative boldness of their positive animus at times expresses thoughts and ideas that stimulate men to new enterprises.
Fairy tales from the female individuation perspective are all about wedding the animus or reconciling with the monster, which is deeply identified with the heroine’s innermost self. This part of the journey is necessary to heal that inner psychic split, to become whole. Reconciling her animus in a positive way allows the heroine to access new ideas and concepts and achieve her creative potential. Rey must acknowledge and integrate her positive animus to “become what you were meant to be” (more on the positive vs negative animus below).
(Edit: See also this wonderful meta by @skysilencer elaborating on the anima and animus as parts of the psyche.)
rey’s mirror cave journey and kylo ren as her animus
Following the beats of the heroine’s journey and Jungian concepts, Rian has given us what many of us have predicted all along: Rey joining with Kylo Ren as her animus on her journey of self-discovery.
Rey descends through a black hole that pulls her into the ocean depths beneath the island. When she emerges at the mouth of the mirror cave, her hair is undone. This is the first step of her growth from girlhood to womanhood and the liberation of that inner goddess.
Rey kept her hair tightly coiled in those signature three buns all her life on Jakku because she clung to the infantile hope that her parents would return and recognize her. We now know that this hope was a fiction she fabricated to give herself a reason to live. We tell ourselves stories in order to live. Rey imposed her own rosy narrative on a harsh reality in order to survive. “Child . . . you already know the truth.” Indeed, as Maz correctly intuited, Rey already knew the truth: her parents were nobody and they were never going to come back for her.
Rey’s loosened hair represents letting go of that past and uncoiling that fictional narrative that was holding her back.
The new undone look also signifies a sexual awakening.
And who should be there, listening patiently, as a companion to Rey’s awakening? Rey narrates her mirror cave journey to none other than Kylo Ren, who is with her on that journey as her animus.
Recall, the animus first appears as “mere physical power” but in a higher form gives the woman “an invisible inner support” as mediator of a meaningful spiritual experience. At first, Kylo appeared to Rey as a creature in a mask, a manifestation of mere physical power. Through their Force bond, Kylo certainly manifests as a “muscle man” particularly when he refuses to throw on something to cover those gleaming pecs. Later, he becomes a source of spiritual support when he assures Rey “you’re not alone” after she confides to him she had never felt so alone as in that cave where she sought answers.
Also, recall, the animus has to do with ideas and concepts. Kylo represents the idea of “let the past die” on Rey’s path to self-actualization. Rey needs to hear this in order to move on from her disappointment at being so casually tossed aside by her parents. While Rey clings to the past (her parents, Luke the legend who she says the galaxy needs, the myth of the Jedi and the Jedi “page-turners” she takes on the Falcon), Kylo wants to throw it all away. Kylo wants to tear down the curtains, just as those red velvet curtains in Snoke’s throne room burned away to reveal the black void of space around them. Kylo wants to live in that black void of cold reality where Luke and the Jedi are demythologized and deconstructed, where he can see clearly Rey’s parents for who they were as opposed to the childish way Rey put a curtain over the truth with her own make-believe tale (“they’ll be back … one day”). Rey needs a cold splash of that demythologization to grow up.
As Rian Johnson tells us in The Art of Star Wars: The Last Jedi, there’s “a sin in venerating the past so much that you’re enslaved to it.” Yet the idea is not so simple, as Rian also acknowledges the need to reconnect with the past (and implicitly the need to re-construct myths by which to live):
If you think you are throwing away the past, you are fooling yourself. The only way to go forward is to embrace the past, figure out what is good and what is not good about it. But it’s never going to not be a part of who we all are.
We become “enslaved” if we go too far in either direction, whether venerating the past too much or wanting so badly to desecrate and “kill” the past. The extreme and destructive way in which Kylo seeks to “kill it” represents the negative animus. That side is, paradoxically, too emotionally tied to the past (and fixated on perceived past wrongs), unwilling to simply let go of the anger and resentment. To integrate her positive animus, Rey needs to acknowledge and learn from the past by looking at it in an objective way, which requires distancing herself instead of letting the past rule her emotions. Both Rey and Kylo need to embrace the past and the fact that it is part of who they are, in order to move forward.
Let’s distinguish the positive animus from the negative animus, which can be identified with the heroine’s shadow. The negative animus often appears as a sort of “death-demon” or murderer (“murderous snake” for instance) and “personifies all those semiconscious, cold, destructive reflections that invade a woman in the small hours” according to von Franz. Bluebeard would be an example of the negative animus: a seducer who is ultimately destructive and must be overcome. The negative animus can be that inner critic reinforcing feelings of worthlessness.
In what ways is Kylo a negative or positive animus?
Negative animus: Kylo who embraces the monster role (“Yes, I am”). Kylo who says “you have no place in this story . . . you’re nothing” and resents the past. Kylo who is filled with so much self-loathing he stabs in the heart the man whose heart he has too much of (“You have too much of your father's heart in you, young Solo”) and wants to blast out of the sky the “piece of junk” in which he was conceived. Kylo who rages against the galaxy, who wants to impose a new order on the galaxy.
Positive animus: Kylo who says, “But not to me. Join me. Please.” Kylo who responds to “Ben” and who Rey sees turning in the future (“If I go to him, Ben Solo will turn”). Kylo who desperately needs to make peace with the past. Kylo who tells Rey, “You’re not alone.” Kylo who fought side by side with Rey, perfectly in sync. Kylo who we are rooting for to ultimately make peace with the galaxy.
Kylo has the potential to be Rey’s positive animus, but at the end of the film she cannot reconcile with him yet because he has not yet transformed from the murderous negative animus to Rey’s positive animus.
rey’s search for identity
“Who are you? … What’s special about you?”
Here, I digress a bit to discuss why Rey “nobody” is the perfect reveal and try to address some of the criticisms about the jarring sequence in the cave.
First, the way this sequence is filmed and narrated is superbly meta. Just as Rey is pulled out of her “everyday life” into another realm of consciousness, so are we as the audience pulled out of the immersive experience of the breakneck-paced dramatic narrative into a more self-reflective space. Some have criticized this moment as violating that rule of immersion, breaking the fourth wall and taking us out of the film. Reminiscent of Yayoi Kusama’s popular Infinity Mirrors exhibit, Rey’s mirror cave scenes evoke the experience of being in a modern art installation. You are part of those infinite possibilities. It is you, the audience, who create those infinite selves. This is entirely intentional and I believe indicative of Rian Johnson’s brand of auteurism: entirely self-aware and humbly transparent about his intentions. We are meant to reflect on our own assumptions about Rey. We are meant to question, does it really matter who her parents are? Why do we think it matters? For the fans who wanted her to be blood-related to a legacy Star Wars character: what does that say about you and your view of a character’s worth? your view of what builds character?
In The Art of Star Wars: The Last Jedi, Rian explains that he wanted to explore, “What do you keep from the past and what do you not? What is the value of the myths you grew up with? What is the value of throwing those away and doing something new and fresh?” In a very meta way, his treatment of Rey’s struggle with her past in The Last Jedi also led the fandom to question: What is the value of the mystery box?
So much criticism has been leveled about the “empty mystery box” and how anti-climactic it is to show us Rey’s own reflection at the end of the corridor of infinite selves after teasing us with those murky shadows behind the glass, as if mocking fans for their intense speculative interest in her parentage, which was arguably one of JJ’s deliberately constructed mystery boxes.
Did Rian totally deconstruct and wreck that box? Well, not exactly, because the point of the mystery box was never to yield a white rabbit like a simple magic track. From JJ’s TED talk:
The thing is that it represents infinite possibility. It represents hope. It represents potential. And what I love about this box, and what I realize I sort of do in whatever it is that I do, is I find myself drawn to infinite possibility, that sense of potential. And I realize that mystery is the catalyst for imagination. Now, it's not the most ground-breaking idea, but when I started to think that maybe there are times when mystery is more important than knowledge.
The mirror cave itself is a representation of the mystery box and Rey’s infinite potential. Rian, in a sense, preserves that mystery, that infinite possibility.
JJ goes on in his TED talk:
And then, finally, there's … the idea of the mystery box. Meaning, what you think you're getting, then what you're really getting. And it's true in so many movies and stories. Look at "E.T.," for example — “E.T." is this unbelievable movie about what? It's about an alien who meets a kid, right? Well, it's not. "E.T." is about divorce. "E.T." is about a heartbroken, divorce-crippled family, and ultimately, this kid who can't find his way … When you look at a movie like "Jaws," the scene that you expect … she's being eaten; there's a shark …The thing about "Jaws" is, it's really about a guy who is sort of dealing with his place in the world — with his masculinity, with his family, how he's going to, you know, make it work in this new town.
So many thought Rey was Luke 2.0 and that this story was about her going from nobody to somebody by virtue of discovering she belongs to an elite bloodline. So many thought The Last Jedi would be about passing the torch to the next Jedi. Well, it’s not really about the next Skywalker or the next Jedi. This story is about a girl finding her place in the world, who can’t find her way because she kept telling herself a lie about her past that trapped herself in her own mystery box, a box of her own making that allowed her to live with hope and at the same time limited her growth and kept her all alone. She told herself “they’ll be back … one day” when she knew her parents were never coming back. This story is about a girl who feels so alone. She meets a boy who feels this too: “You’re so lonely.” When Rey and Kylo are Force bonding together, their scenes are marked by silence, stripped bare of the noise and the sturm und drang of an epic-scale John Williams score, stripped down to the intimate-scale essence of their story: “You’re not alone.” “Neither are you.”
What Rian gives us is what we were really going to get all along: the revelation that the real substance is not in the box’s contents (the answer to the mystery of Rey’s parentage) but in that negative space around the mystery box, which is about two kids dealing with their loneliness.
So what do we make of Rey gazing at her own reflection, disappointed and alone?
Some have criticized the mirror cave sequence as an indulgent interlude emblematic of the vanity endemic to today’s narcissistic navel-gazing “me” generation—both the vanity of the auteur as well as the vanity of the film’s populist self-empowerment message. The mirror cave with its echo chamber and mirrors do bring to mind Echo and Narcissus. When Rey snaps her fingers, she hears nothing but her own sound, infinitely echoed. When Rey looks into the mirrors, she sees nothing but herself, infinitely reflected. (Edit: To be clear, I’m not agreeing with the “me” generation assessment. Also, it’s true that there are covert narcissists who feel vulnerable and neglected and that a deep-seated sense of insecurity or lack of self-esteem is at the root of narcissism. Rey and Kylo both exhibit some of this insecurity.)
Yet Rey is the opposite of a Narcissus. She doesn’t worship her own image or hold a grandiose view of herself (or lack empathy for others for that matter). Rather, she must learn to love herself instead of seeking love and validation from stand-in parental figures. As Kylo says, “Your parents threw you away like garbage. But you can’t stop needing them. It’s your greatest weakness. Looking for them everywhere, in Han Solo, now in Skywalker.” Here, unlike Narcissus who needed to detach himself from excessive love for his own image, Rey must come to embrace herself as worthy and self-sufficient. (Edit: Also, here, Rey is horrified rather than delighted to see her own reflections. See also Reyflections of Existential Horror from @and-then-bam-cassiopeia.)
As Rian tells us, her greatest fear is that she has nobody but herself to rely on. She must face that fear head on and realize she is enough, that all she needs is right in front of her nose (as Yoda might say).
She also comes to realize: “You’re not alone.”
wedding the animus: “when we touched hands”
“I thought I’d find answers here. I was wrong.” Yet the mirror cave does show Rey something vital to her search for identity: her own duality. At the end of that seemingly infinite hall of mirrors, Rey sees two shadowy figures walking forward behind the glass who then merge into one to form her own reflection. The shadows evoke a masculine figure and a feminine figure.
The “Kylo Kira Force Mash” concept art and its placement together with the mirror cave concept art on the same page in The Art of Star Wars: The Last Jedi suggest to me that the two shadows merging into one and emerging as Rey’s reflection is supposed to represent both (1) the duality of masculine and feminine within each of us, in particular Kylo and Rey wedding into one as Rey assimilates Kylo as her animus, and (2) the duality of light and dark within each of us.
Recall, the idea of wedding the animus is that we need to reconcile and integrate both sides (both masculine and feminine, both light and dark) to become whole.
The mirror cave scenes are followed by a “wedding the animus” scene. After Rey narrates her mirror cave journey to Kylo, sitting with him in the hut through their Force bond, she proceeds to engage in perhaps the most intimate act we have ever seen in Star Wars (or Disney for that matter). She extends her hand, and the camera zooms obscenely close to Rey and Kylo’s bare fingers making contact.
In this moment, as she gasps, she sees a future with Ben. She sees him turning against Snoke. (Yes, he does turn against Snoke, but her vision is incomplete as he doesn’t turn against the First Order yet.) Likewise, he sees a future with her: “When the moment comes, you’ll be the one to turn. You’ll stand with me.” (I do think that in Episode IX we will see Rey standing with Kylo and turning to help him in some way, but Kylo’s vision is also incomplete in that she rejects his plea to join him in the throne room and does not turn against the Resistance.)
Yes, this moment is more intimate than a simple kiss or other physical act of intimacy, because Rey and Kylo are envisioning future lives together, standing side by side. Wedded to each other by the Force. The Force theme begins to play at this moment, as if underscoring the divine inevitability of this union.
Why does Rey fail to see clearly that Kylo would not yet turn in the throne room? “Ben, when we touched hands, I saw your future. Just the shape of it, but solid and clear.” Here I’m reminded of those shadowy figures again, and these verses from Corinthians 13:11 and 13:12 much referenced in literature and film:
When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things.
For now we see through a glass, darkly; but then face to face: now I know in part; but then shall I know even as also I am known.
Rey is somewhat naive, like a child. In the mirror cave when she touches the glassy surface and in the hut when she touches Kylo’s hand, she sees through a glass, darkly. Rey’s knowledge of herself and her past is imperfect. Rey’s knowledge of Ben and the future is imperfect. Her vision is obscured by her naiveté and hope, by her optimistic insistence on clinging to rose-colored glasses and red curtains.
Chapter 13 in Corinthians is about love (sometimes translated to charity). What is a theme throughout Star Wars? Compassion. As Joseph Campbell points out, this means to suffer together, to feel someone else’s suffering as our own and wish to relieve that suffering.
Kylo began to feel compassion for Rey in the interrogation room when he discovered her loneliness. “You’re not alone.” Her suffering at Snoke’s hands likely contributed to his resolve to conceal his true thoughts from his master and slay Snoke at the right moment. When Rey is cut on the shoulder by a Praetorian Guard, Kylo glances towards her anxiously, further evidencing his compassion for her. However, he lacks compassion for her concern with her friends and the plight of the Resistance. He is still thinking in terms of “you’ll stand with me” instead of “we will stand together” working towards a shared goal.
Rey begins to feel compassion for Ben Solo through their Force bond, when she sees that fateful temple-burning night from Kylo’s point of view and learns that Luke lied about how he behaved. She also feels Ben’s loneliness. “Neither are you.” She extends her hand out of compassion. However, she didn’t ship herself to the Supremacy for Ben Solo, she went there to save her friends, and he understands that when she turns to the window port and demands, “Order them to stop firing!” Recall Rey’s reasons to Luke before flying off on the Falcon:
If he were turned from the dark side, that could shift the tide. This could be how we win.
Rey too is thinking about her own agenda, as opposed to what Kylo wants to accomplish: “We can rule together and bring a new order to the galaxy.” Kylo’s proposal to Rey, which involved a future together, is met with what he might have perceived to be an attempt on his life, though Rey’s grab for the lightsaber might simply have been her way of sending the message: you are not worthy of this yet. Neither of them are truly able to see from each other’s point of view; each has more to grow to reach that common ground and to truly love and suffer together.
At the end of the film, Kylo remains a negative animus who has not yet fully processed and embraced the past as part of who he is, full of murderous rage (“blow that piece of junk out of the sky!” and “more! more!”). His rage masks his true misery and self-loathing, which is pitifully obvious from the way he looks at Rey through their Force bond at the very end of the film, then slowly closes his fingers around the projected gold dice as he realizes despite his ascension to Supreme Leader he truly holds on to nothing. He's not angry and resentful in that moment. He's heartbroken and sad.
But … Ben Solo will turn. The structure of the heroine’s journey mandates that Rey will somehow reconcile with her positive animus.
Some thoughts and observations from my re-watch of #TheLastJedi. -robotical712 #StarWars
I re-watched The Last Jedi in its entirety again last week for the first time since before putting the The Last Jedi Case for Rey Skywalker together. The case, combined with other insights and events, made for a very different viewing experience.
Hi! Are we 100% sure this is kylo she sees in the mirror? I mean, I ve seen the movie 3 times and everytimes it is more obvious; and the explaination you gave to the anon about this totally made sense. But still, I am curious, is it written or confirmed somewhere?
We can only speak to ‘confirmation’ with this by looking at the concept art and reading what they’ve talked about in that scene, the last two I reblogged go into it:
Essentially, the original scene was going to show her face split with Kylo’s, and that scene was very heavy on the Rey/Kylo parallels in the force (conceptually). And then you have comparison with the screencaps where it’s clearly a man walking up to the screen, and the broad-shouldered Ben Solo come to mind - it makes complete sense.
So you’ll probably never get confirmation officially, but it’s speculation rooted in evidence from the supplementary materials as well as narrative influence.
There are some quotes from Rian where he talked about the purpose of the scene, but I couldn’t find them - he said similar things though, that it wasn’t really about her parents, but about her search for identity and place in the universe.
