This is one of Makavejev's early movies. An elder man, an engineer, Jan Rudinski, is invited to a little town on the east of Serbia to put together the machinery for copper production. There he meets young and pretty Rajka and they fall in in love with each other. She is charmed with his virility and his intelligence. At the end she is about have an one-night adventure with young truck driver. On the other side flows the story in a factory. Factory is the metonymy for communism. Makavejev depicts opportunities in Serbia during post-war time in a very distinctive manner. It seems to me that these two issues are very present in his later works - love (~sex) and Serbian communist period. But he always talks about it with a such humor, almost mocking. It is like he wants to say that life is almost nothing but a game - love, hate, death, working.
Yes, it is true that it's plot is pretty simple. But it seems that the director wasn't much occupied with it either. The word 'game' is not just the question of the plot, but also the question of the style. Makavejev experiments with movie form. He mixes some documentary (or quasi-documentary) material with the played material. The effect is achieving a kind of essay-like sense. This meta-text, meta-story, an extra course, if you want, is about hypnosis. Thus, this element stays in some strange relationship with the basic plot. This is very important, because he develops this method in his further masterpieces: "W.R. - Misterije organizma" (W.R.: Mysteries of the Organism), "Nevinost bez zastite" (Innocence unprotected), "Ljubavni slucaj ili tragedija sluzbenice P.T.T."(Love Affair; or The Case of the Missing Switchboard Operator). I do not recommend this movie to, I may say, lower-level customers, accustomed to the conventional forms, but to those who are seeking for some new once, to those who are almost never satisified
Yes, it is true that it's plot is pretty simple. But it seems that the director wasn't much occupied with it either. The word 'game' is not just the question of the plot, but also the question of the style. Makavejev experiments with movie form. He mixes some documentary (or quasi-documentary) material with the played material. The effect is achieving a kind of essay-like sense. This meta-text, meta-story, an extra course, if you want, is about hypnosis. Thus, this element stays in some strange relationship with the basic plot. This is very important, because he develops this method in his further masterpieces: "W.R. - Misterije organizma" (W.R.: Mysteries of the Organism), "Nevinost bez zastite" (Innocence unprotected), "Ljubavni slucaj ili tragedija sluzbenice P.T.T."(Love Affair; or The Case of the Missing Switchboard Operator). I do not recommend this movie to, I may say, lower-level customers, accustomed to the conventional forms, but to those who are seeking for some new once, to those who are almost never satisified