In the article the authoress analyses Kazimierz Kutz' 'Nobody's calling' in the context of theory of crystallization of emotions formulated in Stendhal's 'On Love'. This Stendhalian inspiration determines the emotional logic and chronology of the film, the sequence of events, but above all the construction of their representations. Theory of crystallization of emotions ensured that the film makers maintained a distance in relation to psychological and emotional content of the film, whereas the daring break from the narrative logic of events meant that the film no longer narrated a love story, but presented new ways of showing emotions at various stages of their development.
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