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The line's engaged animal m stak blue pills The character of Marianne is meant to have been “a strong young political feminist”, with whom Williams clearly identifies, before marriage has ground her down into a “lovingly deferential” housewife. One of the film’s most painful scenes, preserved on stage, is her phone call to that friendly couple once she’s found out Johan is leaving her for a much younger mistress. She’s horrified to discover they’ve known about his affair all along. Williams gets goose bumps – and points to them – when I even mention this. And she’s very keen to argue that what was once a document of Swedish bourgeois domestic strife in the Seventies remains thoroughly relevant.
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