"Loves of a Blonde" has often been identified as one of the most significant and ambitious productions of the Czech New Wave, a movement in which a group of young filmmakers, many of whom were educated by the national film academy in Prague (including Forman, Ján Kadár, Věra Chytilová and Jiří Menzel, among others), took significant political risks by using cinema to protest the hypocrisy and absurdity of the Communist state. This movement has been attributed to a period of cultural and political reform, starting in 1962, during which filmmakers were given state support, but were also allowed a certain amount of artistic freedom, enabling them to create movies with the stated objective of making "the Czech people collectively aware that they were participants in a system of oppression and incompetence which had brutalized them all."