All we know of Mary is her voice until the last segments of the film, where she and Enzo sit and talk with sweet sincerity about their unconventional relationship: he, the butch protector showing off his muscles, and she, the sweetly-spoken recovering drug addict. He cared for her in prison, and she, released first, waited years for him to rejoin her.
According to the guest speaker, Dr Oliver Brett from the University of Leicester, this scene is the first time Mary was willing to face the camera: it took director Pietro Marcello six months to gain her trust. The film is a journey, echoing not only Marcello’s increasingly fractious relationship with Genoa but also Mary’s own growth and development.
The split between imprisonment and freedom, beauty and decay, visibility and invisibility, haunts the fragmented narrative. Despite its status as a documentary, it resists giving any easy answers to the issues of globalisation, poverty, transsexual prejudice and crime that it presents.