This movie attempted to look at modern-day marriage at a time when the women's liberation movement was just starting to gain momentum. Lafont plays a free-thinking woman who falls in love with conservative Duchaussoy. Forsaking her liberated ideals, she agrees to marriage, only to find
that married life is filled with double standards and that she is merely an object of display for her husband. She becomes friends with Ogier, who teaches her the ins and outs of being a decorative spouse, advising her to cheat on the bills to get the material things she wants. Lafont, in turn,
convinces Ogier that they should try to preserve their dignity. She begins to paint as a means of escape from her unstimulating marriage. When Ogier is killed in a car accident, Lafont realizes that life is too short to waste, and, intent on living her way, she leaves Duchaussoy. Although the men
in this picture are not developed as clearly as the women, they successfully escape stereotyping, and the film succeeds in revealing the illusions people often have when going into marriage, and how the breakdown of these illusions can often break up a marriage.
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