The year is 1971. The world is swollen with hippies, disco music, and demonstrations for equality and peace. But in Switzerland, women are still forced to remain indoors and perform the duties classically assigned to the female race, smothered by their husbands, who are preparing to vote on a referendum for the first time in eleven years to determine if women in their country should gain the right to vote.

And thus opens The Divine Order, Petra Volpe's German-language film that has already been nominated as the Swiss entry for the 2018 Academy Awards' Best Foreign Language Film category. The film chronicles a few weeks in the life of Nora (Marie Leuenberger), who, after witnessing the imprisonment of her defiant and rebellious niece Hanna (Ella Rumpf); being repeatedly told by her husband (Maximilian Simonischek) that, contrary to her own wishes, he possesses the dominant, final say in the household to bar her from obtaining a job; and becoming inspired by fellow females like the village's beloved Vroni (Sibylle Brunner) and Italian immigrant Graziella (Marta Zoffoli), involves herself in fighting for the right of Swiss women to vote. Although opposed by a clear majority of the people in her village—a picturesque set of serene buildings set on the side of a snowy Swiss mountain—Nora fails to lose hope, and, flanked by a small group of supporters that continues to expand as the movie progresses, she experiments with her womanhood and prospects of freedom through a series of experiences, including attending a session about self-love taught by a bejeweled, incense-burning hippie; dancing at a disco with her friends; and ultimately leading the women of her village to go on strike from their jobs and families in an attempt to prove to the men that, without women, the men cannot function in society.

Volpe directed The Divine Order with obvious grace; not a detail is overlooked, and every audience member is able to identify with and sympathize with Nora and her female compatriots as they experience obstacle after obstacle in their quest for liberation. Leuenberger deserves specific laud for her portrayal as the conflicted housewife/revolutionary: unwilling to ever completely neglect her beloved sons and family but also invested in taking a stand to provide opportunities for the females of the future, she captures the audience's attention and emotions and causes them to rejoice when she succeeds and to deflate with her as her struggles for victory fall short once again.

Though not an audience-favorite character like Nora, another actress who deserves praise for her role is Therese Affolter as Dr. Charlotte Wipf for just the reason that she was not a well-liked character; her slimy attitude from the moment that she hands flyers to a group of working men for her coalition of women themselves against the woman's right to vote causes the audience's skin to crawl. Similarly, Maximilian Simonischek as Nora's husband Hans depicts a character of many sides—telling his wife over the phone that he is in favor of women's rights, shouting at her in person that it is his choice by law whether she should be allowed to work or not, refusing to raise his hand in favor of the women's vote when polled—wrenching the emotions of the audience in as many directions as he himself portrays on the screen.

Even the costumes in The Divine Order are a work of genius: just as Nora's household is depicted in a series of progressive stages throughout the movie, from Nora vacuuming the floor under her father-in-law's feet and hanging up dripping socks from a clothing line to her father-in-law himself eventually frying an egg on the stove, costume designer Linda Harper subtly depicts Nora's personal decision toward freedom as she sheds her floral-patterned headscarf and woolen skirt in favor of a loose yellow blouse, bellbottom jeans, and a new, stylish haircut. Likewise, the scenery, while beautiful, presents a slight commentary on the stifling environment that the women must have felt a part of. In all, every aspect of the film makes it clear that even subtle, symbolic details were not forgotten.

The Divine Order leaves audiences feeling grateful for the strength and ambition of women like Nora, empowered by the prospect of equality and freedom of the sexes, and touched by the stories like those of these simple Swiss women who joined together to fight for a cause. Petra Volpe and her team of cast and crew depict a beautiful and unforgettable film that is both compelling and inspiring for women and men across the globe.