The movie's release coincided with my birth year, meaning nearly six decades later, it’s not unexpected that its impact has diminished considerably. Nevertheless, it remains an enjoyable production that blends reality and fiction in a way that can be difficult to tell apart. Lena Nyman’s strong performance anchors the film, offering a look at socialist ideals and sexual liberation. “Lena” is someone who wants everything – she doesn't just want to discuss freedom; she wants to live it, record it, and isn’t afraid to disrupt any relationships that stand in her way. "Börje" (played by Börje Ahlstedt) shares a home with "Marie" (Marie Göranzon) and their child but soon begins having affairs with this volatile woman. What will become of that turbulent relationship? Simultaneously, the entire story unfolds as a subplot within a film being made about these very characters, directed by “Vilgot” (the actual director Vilgot Sjöman), so we frequently shift between what's happening in the movie and what is presented as reality on screen. The political aspects feel dated, particularly for those not already inclined toward leftist views; however, witnessing Swedish anti-Vietnam demonstrations and hearing discussions about their government’s proposed strategy of peaceful resistance if occupied did elicit a chuckle. Some of the filmmaking techniques from that era would certainly make today's intimacy coordinators uncomfortable as they reach for lubricant! There is something undeniably inventive about this film. It occasionally adheres to conventional storytelling – functioning as a drama, comedy, and romance—before veering off on detours that keep you engaged, and yes, there were moments when I was completely lost. The film contains some nudity and sexual scenes, but nothing remotely shocking, especially given how unconvincing the lovemaking appears; it’s almost as if they're in separate rooms. It is a movie worth seeing, though time has taken its toll.

Source on TMDB