Yeah, I got the impression that she didn't want it.
Which makes sense because it raises a very moral dilemma - because Sarah didn't want the baby and would probably have made a bad mother, and La Femme wanted the child so she could love it and take care of it.
So even though we're supposed to root for Sarah coz she's the 'good guy' and hate La Femme coz she's the 'bad guy', in the bigger picture concerning the welfare of the child, La Femme would realistically be the better mother figure for it because she's the one who wants it and Sarah doesn't.
I found that really good, the way their roles were reversed.
I think this is the key aspect of the film. On the one hand, at the most reductive level, we have a home invasion genre film. But on the other, it touches something deep about the ambivalence and terror of bringing a child into this world. Consider: always the child is the protagonist, not Sarah or even La femme. We can compare the two women and debate whom would have made the better mother. But in the end, after witnessing this senseless, violent ordeal (much like life in general), could anyone protect it from the horrors it began to experience whilst even inside the womb?
Maybe the directors are pulling from the rash of criminal activity (and social unrest) against the French by immigrants, which was reported on the television news program Sarah drifted off to, and again referenced in the arrest of the Muslim youth. What's interesting, however, is that the true villain in the film is none other than a 'normal' bourgeois french woman driven mad by the loss of her child (or, perhaps more loosely, the normal course of things which she swore to uphold.) So in my mind, perhaps this film at once touches upon the fears of the liberal, suburban, French viewing public yet also pierces their self-understanding as merely civilized victims as well.
Even without this analysis/conjecture, I think it's an incredibly bracing and technically brilliant film that accomplishes what Martyrs' pseudo-metaphysical second-half never could: a brave and visceral experience that rejects convention while also managing to subtly challenge and access subconsciously the anxieties of its viewers.
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