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Ein fast ikonisches Bild, das alle vorhergehenden Statements essentiell unterstreicht: Die Freiheit der Hilda Lackner hat viele Lagen. Sie ist frei von Konventionen, von gesellschaftlichen und materiellen Zwängen, sie ist auch als Frau frei, seit ihr Mann vor 14 Jahren verstorben ist.
This scene constitutes an almost iconic image, essentially emphasizing preceding statements: Hilda Lackner´s freedom is multi-layered. She is free of conventions; free of social and material obligations; and as a woman she is also free since her husband passed away 14 years ago. She lives a simple life because she possesses only what she really needs. She cultivates her own tomatoes and salad. She lovingly raises an entire stall of hares. She gathers pinecones to strain out seeds and plant new trees: This is her hobby, she says.
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Sie schmiert sich die Hände ein – sie reibt sich die Hände. Da wird deutlich: Als aus Lionel Nicole wurde, hat jemand sich befreit, von seiner Geschichte, von Missbrauch, von allen möglichen Zwängen. Und jetzt tanzt Nicole auf ihrem Bett – sich so in der Enge dieser Welt quasi Raum schaffend – zu Milow’s Interpretation von „Ayo Technology“: „I have no trouble with you fucking me, but I have a little problem with you not fucking me.”
The film ends with a scene in which Nicole is putting on makeup. She arranges the pots of cosmetics in front of her on the table, and then gets to work, concentrated, with dedication and pleasure. She puts cream on her hands—rubs her hands. Here it becomes clear: when Lionel became Nicole, a person was freed of their history, of abuse, of all sorts of constraints. And now Nicole is dancing on her bed—and in doing so, making room for herself in the narrowness of this world—to Milow’s interpretation of “Ayo Technology”: “I have no trouble with you fucking me, but I have a little problem with you not fucking me.” She puts on a serious face. Nicole has finally become a person, and mainly, she wants to be taken seriously.