You’re either 1) contradicting yourself, or 2) you have no idea what you're talking about, so you're just tossing out nonsense that cancels itself out.
I recall Wild once noted that fools contradict others while the wise only contradict themselves—but even then, there isn't an internal conflict within her, because there's simply no room for one. You almost sense this later through the references to a "lack of freedom and choice" or "imposed decisions," but I fail to see why you'd present two opposing theses in a single sentence.
It's not that I care; I'm just saying.
How can you say there's no conflict? She has been blatantly betrayed on multiple levels, and none of her dilemmas have an exit strategy... that entire stretch from the sex scene onward reeks of her tangled emotions—shame, guilt, anger, fear for her friend, and this desperate urge to see things through to the end. You can feel it in those long silences, the way she walks, the drives, the dinners. She had a choice: she could have been a total coward and screwed everything up, or she could play the naive saint who got played—and she knows exactly which one she chose. When she looks at her friend in the restroom mirror, or even when she says goodbye to head to dinner, she’s simultaneously livid over the betrayal and motherly in her concern. At dinner, she’s paranoid and fixated on Gabita, all while becoming increasingly aware of the looming impossibility of any future choices—options that just keep mounting (living with a boyfriend, the possibility of an abortion, the hypocrisy of the people at the table). Their conversations provide us with the echoes of her thoughts, which are only subtly hinted at through her facial expressions and movements... before she finally voices them in the room. That’s why I think it's unnecessary.