In any event, things are hostile between them from the get-go, with volatile transphobe Robert still resentful over her decision to transition, and subjecting her to both verbal taunting and physical assault. The kicker? Before her spell behind bars - in a men’s prison, which goes some way toward explaining her thick skin and weathering of abuse to come - Leni and Robert were lovers, only she was Lenard back then and hadn’t yet, in Robert’s typically crass wording, “tucked his penis away.” Quite why police brass decided that reuniting them would be a recipe for successful sleuthing is a mystery greater than most enfolded in the film’s slow, lurching plot. Her parole is conditional on her assisting in a police mission to infiltrate an online drug-trafficking network run by her former employer the apartment we see in the opening scene is the one she has to share with undercover narcotics cop Robert (Timocin Ziegler), with whom she has to pretend to be in a relationship for the sake of the investigation. A steely but sensitive screen presence, she deserves a more intricately dimensional character than the rather erratic one screenwriter Florian Plumeyer has devised for her: Leni, a trans woman newly out of prison, having served half of a two-year sentence for dealing speed. What interest and ambiguity “Till the End of the Night” does have to offer is largely contained in the performance of transgender actor Thea Ehre.
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