In the early 1990s, scholars largely viewed the height of the glasnost years, 1987 to 1991, to be a culturally and socially distinct period in comparison to the rest of the Soviet epoch. One of the main pieces of evidence employed in this argument was glasnost filmmakers’ novel use of sexuality and nudity. The debate about the cultural significance of the glasnost period, however, has been muted in recent decades. In this reevaluation, I suggest that the misogynistic nature of glasnost filmmakers’ sexuality and nudity depictions actually reflected cultural continuity with previous Soviet eras. This study ultimately challenges the idea of a culturally liberal glasnost period, and supports the case for conservatism throughout the Soviet period.