During the 1960s, Sweden experienced significant societal shifts, transitioning from a structured and traditional culture—similar to what audiences might have observed in Ingmar Bergman’s early works—to a period where established sexual norms dissolved and class conflict emerged, mirroring trends in other Western European nations. Filmmaker Vilgot Sjöman aimed to capture these evolving social attitudes (and perhaps even influence them) with his experimental project, *I am Curious*. He developed the script through extensive improvisation and accumulated enough footage to release it as two separate films: "Yellow" in 1967, followed by "Blue" the next year—titles referencing the colors of the Swedish flag. This assessment addresses both installments. The central performer is Lena Nyman, then 22 years old, who portrays a fictionalized version of herself, a drama student deeply involved in sexual exploration and political activism. From her home, shared with an alcoholic father, she operates what she calls the Nyman Institute, maintaining a vast collection of files and traveling across Sweden to record people’s responses to provocative questions such as “Does Sweden have a class system?” and (to tourists returning from fascist Spain) "What do you think about Franco?". She engages in intense relationships, primarily sexual, with Börje, a sophisticated young professional (played by Börje Ahlstedt), and Hasse, an idealistic bohemian (portrayed by Hans Hellberg). A further layer exists within the films, revealing Vilgot Sjöman directing his actors and developing a romantic relationship with Lena Nyman—though even this aspect is presented as part of the fiction. It’s remarkable how everyone involved manages to portray fictional versions of themselves on two distinct levels. The two films have a complementary dynamic, exploring similar themes but in varying proportions. "Yellow" focuses more on political engagement and non-violence within the context of the Cold War, criticizing the hypocrisy of the Swedish left (which had become stagnant) and the monarchy. This film is largely set in Stockholm and concentrates on Lena’s home life. “Blue,” conversely, delves into themes of religion and the prison system, with more scenes taking place in rural areas that expose attitudes prevalent outside of the capital city. Upon their release, these films (particularly "Yellow") faced accusations of pornography, and Sjöman was labeled a lecher—despite the idea for the subplot involving the director’s romantic involvement with Nyman originating from Nyman herself. However, the nudity and sexual content are not intended to be alluring; instead, they represent one of many sociocultural themes that Sjöman sought to present, as unremarkable as any real documentary might contain. Furthermore, Sjöman was not a lecher in reality—among artists embracing countercultural ideas, he may have been ahead of his time in recognizing that the new freedoms could also enable men to pressure women into sexual encounters by accusing them of being restrictive if they refused, a realization that didn't fully dawn on many 1960s idealists until the following decade. Sjöman also offers a critique of the New Left by illustrating how those who preach non-violence can be harsh in their personal interactions with loved ones. I had previously only seen "Yellow" a few times and was inclined to view it as an interesting documentary about 1960s Sweden, possibly deserving a four-star rating, but lacking something truly profound. However, acquiring the DVD set and finally watching “Blue” provided that missing emotional impact; it is quite impressive how Sjöman integrated the two films into a cohesive whole with just enough thematic overlap. A subtle sense of humor also emerges upon viewing both parts together.

Source on TMDB