These are what we call the 'YMMV items.' Things that some people find in this work. We call them 'your mileage might vary' because not everyone sees these things in the same way. This starts discussions in the trope lists, a thing we don't want. Please use the discussion page if you'd like to discuss any of these items.
Alternative Character Interpretation: Marissa seems unsure about whether she wants to kill Hanna, or love her. It's possible that since she headed the program that spared Hanna from the abortion clinic and genetically engineered her, she views herself as Hanna's creator and rightful "mother", and resents that she doesn't have any children. In some scenes, she's seen listening to recorded tapes of Johanna Zadek (Hanna's mother) talking to her mother about her pregnancy and her relationship with Erik, calling it "self-help". Also, the creepy way she dotes on Sophie's little brother Miles.
As much as he loved Hanna, the way Erik raised her can be seen as incredibly selfish - he basically forced her into becoming a super-assassin, depriving her of real emotional connections and pleasures just to see if the CIA experimentation was successful and so that she could kill the woman he hated.
Anvilicious: There are many, many fairy tale motifs in the film, and they vary in subtlety - from easily-missed camera angles and lighting tricks to outright references to Hanna's destination as "Wilhelm Grimm's House".
The character's name is Knepfler. He only lives in Wilhelm Grimm's House.
Hilarious in Hindsight: The hapless and defenseless Susie Salmon has been reincarnated into a nearly unstoppable killing machine who eats trained adult soldiers and skinheads for breakfast.
Les Yay: Between Hanna and Sophie. They share a kiss that may or may not be interpreted as romantic. The camera even uses the Male Gaze when we first see Sophie from Hanna's point of view.