The context for Lenfilm’s productions in the Brezhnev era was shaped by both spatial and temporal factors. The studio, one of Leningrad’s most important enterprises and sites of cultural production, occupied a commanding position in the city center, and the mixture of imposing newbuild at the front and tumbledown yards behind lent it a character that was quite different from the USSR’s newer, homogeneous studio territories, such as Mosfilm and Kazakhfilm. Leningrad also had a specific character as a city with a highly developed artistic underground. However, filmmakers were employees of the state, and some degree of conformity was essential. Thus, the shift from the overt political mobilization of the Khrushchev era to the “inclusionary politics” of consensus that was requisite under Brezhnev had a significant impact upon the young filmmakers who joined Lenfilm from the 1960s onward. Yet, this should not be seen, as it often has been, in terms of “calcification” and loss of artistic integrity: the characteristic energy and optimism of the “Thaw” years were not necessarily the preferred emotional tone of all younger directors. Lenfilm is distinct from some Soviet studios precisely because its most creative time was from the late 1960s onward, rather than in the late 1950s and early 1960s, though adverse comparison with the 1930s, the so-called golden age of Chapaev, The Maxim Trilogy, and Member of the Government, still persisted when films were reviewed in the studio and beyond.