Furio offers Bambola what her brother Flavio cannot: raw, unapologetic power. He treats her like a piece of meat, and in the warped psychology of the character, that is liberating. For years, she has been a "doll" protected in a glass case (by Flavio). Furio smashes the case. He doesn't ask for her love; he takes it. And in the film’s most twisted psychological pivot, she wants to be taken.

Unlike Franco’s timid courtship, Ugo takes. His first kiss is forced. His first touch borders on assault. Yet Mina does not flee; she melts. Luna films these early encounters with a predatory lens—Ugo is the wolf, Mina is the rabbit who convinces herself she is a wolf, too. The film controversially suggests that Mina’s trauma (her mother’s death, her isolation) has wired her to confuse aggression with desire.

The film was distributed in France by Warner Bros. France .