Why does cinema suddenly start to feel anxious in the "stagnant prosperity"? At the film club meeting, they will analyze the Soviet version of "moral anxiety" - stories about accidents, trials, and production conflicts, where behind everyday details emerges a sense of the internal crack of the era. There will be examples and a debate about where the line of honesty lies. When an era pretends that everything is stable, cinema sometimes starts to speak in whispers - and that makes it even louder. At the film club meeting "Unobvious Cinema," they will discuss a direction called "cinema of moral anxiety": films about everyday conflicts, where behind a calm facade emerge doubts, fatigue, and the feeling that "this cannot go on." Listeners will learn why such plots often revolve around production accidents, legal disputes, railways, and "small" administrative decisions. In these stories, the hero seems to solve a private task but encounters the system - and the viewer recognizes their own compromises and internal discord on screen. At the center of the conversation are Soviet directors of the 1970s and 1980s: Vadim Abdrashitov, Ilya Averbakh, Semyon Aranovich, Gleb Panfilov, and others. How their screen language changed: from direct journalistic gestures to psychological precision, from "production" dramaturgy to existential intonation. The lecturer will also touch on Polish parallels and why the term became associated with this wave. The meeting will be led by Tatyana Shuvaeva - a cultural scientist and film expert, an employee of the Mayakovsky Library. This is a conversation for those who love to watch films more attentively than usual: to catch details, hear subtexts, and debate meanings without academic snobbery. After the lecture part, there will be time for discussion and questions - to compile your list of films that continue to cause anxiety even today. Where to go in St. Petersburg can be found on our website.