The breathtaking depth of penetration into the state of society is demonstrated to us by domestic filmmakers from the late 60s to the early 80s. On the screen we have a cast of time, highly artistically presented to the viewer. Like any quality work of the artist has several levels of raised issues of society.
The first - the most obvious - dissatisfaction with women heroines, and also with their place in life. Here, the highest level of cinematography conveys the characters of all four central characters. From confident youth to intelligent mature self-digging. From life on the flow to intelligent choice. That's just perfectly conveying, another character even almost without words, the authors stop in their story habitually throwing out on the viewer options of action, without a clear connotation of correctness, toothlessly throwing in the auditorium of banality - are you happy what love is, confusing and talking these really important topics.
The second is the role of women in society. All three are clearly aimed at finding the person to whom to marry, or rather the husband. Only one has already found and is not happy with this notorious "wall" - stuffy behind it. The other is still probably under a lot of stress from the hormones that played out in adolescence and can’t stop — without the behavioral imperative to deal with it. So it carries it with the flow, regardless of age and life experience. Played great - almost really feel the pheromones coming from her clouds. The third female character, who found his refuge with a young woman, began to build a nest after her husband without becoming fully human. The lives of female characters, we see, are only a function of their husbands. Culture in society does not allow them to depart from this image. Although a socialist society has given equality to women, deep traditions and natural functions do not allow the potential of this social achievement to be realized for all. So the heroines suffer from the discrepancy between the declared and the existing. And it's right that they suffer - it means there are examples that still go beyond, it means there is at least an understanding at the level of feelings that something here is wrong. Modern 'they are mothers', for the most part, are unlikely to understand the longing for more heroines. Society, on the other hand, having left all the questions of its internal interaction to the confused workers of culture, became more and more bogged down in contradictory images cast by them, visible to each “creator” in their own way. And when there is no movement forward, there are movements backwards, hence the resurgent medieval relations.
The third level - the relationship of the characters - as a slice of society as a whole, which was in the stage of a smooth drift from the aspirations of socialism to petty-bourgeois life. And even this moment is noted in the film! In one sentence, but one that makes it clear that you need more than just to put intra-personal problems in films, without deducing them from general social and even political.
Having changed priorities, the state failed to present society with a scientifically based path / way of existence for each person, leaving it to the vague empires of sensory perception - art. The uncontrolled movement, determined only by images created by creators who feel, but are not able to comprehend, society is increasingly sick and more atomized - cellwise - family, which served to break the system much more, in my opinion, than any Kosygin reforms.
7 out of 10