But What If This Is Love? 1961

In a town where rules of decency loom large, a teacher with very strict morals discovers a pupil’s letter on the classroom floor. She hands the letter to the headmistress and then tasks a student with uncovering who wrote it. The investigation reveals that Boris Ramzin, Igor Pushkaryov, wrote the letter to his deskmate Ksenia Zavyalova, Zhanna Prokhorenko. Frightened by this revelation, Ksenia is overwhelmed and finds it hard to face the next school day.

Seeing her wavering resolve, Boris suggests they skip class and retreat to the woods together. Their walk takes them to a rain-soaked forest, where they stumble upon an old, dilapidated church and take shelter. For the first time, they speak openly about their feelings, breaking the silence that had surrounded their relationship, which had previously been expressed only through letters. The joy of this candid exchange stands in sharp contrast to the fear and judgment waiting back in the world they left behind.

Meanwhile, back at home, Ksenia is summoned for coming home late. Her younger sister reveals that a friend saw Ksenia leaving for the forest with a boy, and her mother’s fury erupts. When Ksenia returns, she endures a harsh slap, a brutal reminder of the town’s harsh standards and the price of stepping beyond them. The next day, the two lovers must face the school director and the rest of the faculty, and a cloud of speculation hangs over them.

The pressure takes a toll on Ksenia. She withdraws, becomes fearful of leaving the house, and seems to be the target of ridicule from some while others, including classmates, show tentative understanding. Boris, in contrast, refuses to bow to the surrounding judgment; he believes that love between two young people is not a crime, even as the adults debate whether their relationship violates decency or should be celebrated as a tender connection that simply needs room to grow. Throughout these tense days, the contrast between the protective impulse of some adults and the punitive stance of others becomes stark.

Ksenia’s mother, who later repents for her earlier harsh stance, tries to warn her daughter that men have “one thing on their mind,” urging her not to trust Boris. This warning compounds Ksenia’s inner conflict: she wants to reach out to Boris, yet she also feels she should let him go. Desperation drives her to a dangerous act as she attempts to poison herself, a fact her classmates learn about during a German lesson, underscoring the emotional turmoil she endures.

The film moves forward several months to a final scene in which the characters reappear in a quieter moment of life. Ksenia remains hospitalized, while Boris leaves with his father on an expedition, his love unchanged but his future uncertain. Ksenia confesses that she plans to study in Novosibirsk, and Boris offers to accompany her, though her reaction remains uncertain. As the scene closes, Boris watches the retreating figure of Ksenia, lingering with a mix of hope and hesitation about what lies ahead for them both.