Knox's story would've been enough for most, but the film also includes interviews with her codefendant and former lover, Raffaele Sollecito; the attorney for the man believed to have really been behind the deadly attack; and the man who led the Italian investigation. It was amateur work: There were bloody fingerprints and footprints all over the apartment, and the killer even defecated in the toilet and forgot to flush. Whoever murdered Meredith Kercher didn't know how to use a knife.
As a prisoner, Leny should have understood that, but unlike me, Leny was serving a short stint, and didn't feel as acutely as I did the loss of privacy, dignity, and autonomy ...
Knox herself calmly tells us the rundown of her situation at the beginning of the film; you either believe she’s a psychopath, or you see her as the persecuted innocent who could easily be any of us given the circumstances.
It’s an undeniably chilling prospect either way, and Blackhurst and Mc Ginn do a vise-tightening job with the unpacking the facts as we now know them, as we never knew them (including rarely seen court documents and police video), and as they were originally distorted beyond all reason.
They just come at different times in their personal narratives.
For Knox, it’s when she describes being newly in love in Italy; in other words, life before being painted as a bloodthirsty, sexually deviant American college student who collaborated with her Italian boyfriend Raffaele Sollecito in the murder her British roommate Meredith Kercher in 2007.