This is the fourth time in the film Artemisia's work is put under the scrutiny of the male gaze in the film (the first is her father's, then an academician's, then Tassi's when looking at her sketches of nudes). Notice that the first shot of Artemisia painting below herself is contrasted with a scene in which two women models are brought forward (rather aggressively) to be viewed by Orazio and Tassi, who rejects both of them. Though the film has been derided by art historians for showing Artemisia painting herself early in the film (it is taken to be a late work), the film clearly ignores chronology in order to narrate a progression from this opening scene of self-examination to her first painting (in her own make-shift studio) of herself (since she has no models to paint). Also, the film offers different chronologies, or narratives. The closing credits chart a progression, via fragments, from Susanna's sexual harassment by the two elders to Judith and her maid servant carrying Holofernes' head.