Poland is this catalog's clearest case of a state paying for films that argue with it. The Łódź film school opened in 1948, and its graduates spent the fifties asking what the Home Army had died for, the seventies asking what a manager owed the people under him, and the eighties in exile or in trouble. The through-line is that the films are built like religious arguments even when the subject is secular — a moral problem, a person who fails it, and no absolution offered — and that holds for Kieślowski's decalogue as squarely as for Wajda's rubble.