Krzysztof Kieslowski was fascinated by the power of a chance encounter, or a startling coincidence, to bring people together and leave them forever changed. His earliest fiction works (Trolley, Concert of Wishes) offer a dark view of sexual relationships that would become darker still in his fully realized feature films. As a student, Kieslowski would observe the people of Lodz for hours on end; he thought their faces "looked like the walls of Lodz." One sees these vacant faces in The Office, his first documentary. A 1971 filmmakers' manifesto (signed by Kieslowski, among others) called for documentary films to become straightforward, even abrasive, in targeting corruption, patronage, bureaucracy, and cant. The old man depicted in Andrzej Baranski's A Day's Work holds down four jobs to make ends meet; in Filip Bajon's A Contribution to Linguistic Theory a girl who lives in virtual poverty speaks in the formal Party jargon of false promises. The late 1960s and early 1970s was a particularly fervent period for the Polish avant-garde, as Lodz was host to the Workshop of Film Form. Ryszard Wasko's Wall is an experiment in time, light, movement, and asynchronous sound, and Zbigniew Rybczynski was already a relentless experimenter in Take Five, structured on the Dave Brubeck/Paul Desmond jazz piece.