“The more chains you put on her, the less she looks like a slave.” That’s a memorable line from the 1960 movie Spartacus about the slavegirl Varinia, and it seems to apply to Marina Visconti here too, with her predominantly calm, steady, and mysteriously unreadable expression that seems to send her master Mugur ever more intensely into treating her naked body to a program of degradation that includes binding her hand and foot to a frame

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