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A free-spirited, guileless and amoral young woman, who works as a maid in the home of one of the most prominent and influential families in France was discovered in her bedroom, naked and unconscious, with the body of her Spanish lover Miguel across the room and the gun that killed him by her side. As the movie begins, she is being brought before the Examining Magistrate to determine if there is enough evidence to take her to trial where, under the French legal system she will be considered guilty unless proven innocent...
A free-spirited, guileless and amoral young woman, who works as a maid in the home of one of the most prominent and influential families in France was discovered in her bedroom, naked and unconscious, with the body of her Spanish lover Miguel across the room and the gun that killed him by her side. As the movie begins, she is being brought before the Examining Magistrate to determine if there is enough evidence to take her to trial where, under the French legal system she will be considered guilty unless proven innocent...
Based on the director's known work within the Soviet film industry, this film is presumed to subtly promote collective values and state-approved social conduct, aligning with a left-leaning perspective in that historical context.
This film, typical of Soviet cinema from its era, features a predominantly traditional cast without explicit DEI-driven race or gender swaps. Its narrative does not engage in critical portrayals of traditional identities, instead maintaining a neutral or positive framing consistent with its historical and cultural context.
The film, adapting Dostoevsky's novel, portrays Christian virtues through Prince Myshkin with profound sympathy and respect. While it critiques societal corruption and hypocrisy, the narrative consistently affirms the dignity and moral value of Christian ideals, positioning the audience to empathize with Myshkin's Christ-like innocence.
Due to the absence of information regarding LGBTQ+ characters or themes in the provided input for 'Dura', a comprehensive evaluation of its portrayal is not possible. Therefore, the film is categorized as N/A.
The film 'The Idiot' (1991), a Soviet adaptation of Dostoevsky's novel, does not include any transsexual characters or explore related themes. Consequently, there is no portrayal of transsexual identity to evaluate, resulting in a net impact of N/A.
The movie does not contain any action or adventure elements.
The film "Dura" (1991) is an adaptation of Marcel Achard's play "Patate." An analysis of the main characters in both the source play and the film confirms that no character's established gender was altered in the screen adaptation.
The film "Dura" (1991) is a Soviet adaptation of a French play. The original characters would be implicitly European, and the cast consists of European actors. There is no evidence of any character whose race was canonically established as one race being portrayed as a different race.
Combines user and critic ratings from four sources