Mirza’s first and most experimental feature tries to elaborate its own political film language. The somewhat wimpish young Arvind Desai (Dhawan), the son of a businessman (Lagoo), occasionally dates the company’s secretary (Paingankar) and discusses politics and art with a Marxist colleague (Puri). However, the film constantly juxtaposes Desai’s views with other information: e.g. his views on his sister’s marriage are contrasted with his acquiescence in an arranged marriage; when luxurious carpets are hung in the family’s shop, the film shows the weavers who made the carpets. Critic Bikram Singh suggested influences of Antonioni, Ben Barka’s politics and, for the epilogue (summing up and placing the central character), La hora de los hornos (1967). This was the second and last film by the Yukt Co- op, a group started by FTII film-makers and technicians (Ghashiram Kotwal, 1976).