Skolimowski's follow-up to Identification Marks: None rejoins that film's protagonist several years on: no longer young, still an outsider, and with even less hope for the future. Now a jaded, two-bit boxer masquerading as an out-of-work professional (or vice versa), our hero finds himself in a new town, where he wanders the streets, desultorily courts a young woman, and winds up competing in a “walkover,” a rigged fight. The film is comprised of only thirty-four shots, each a dazzlingly choreographed long take that moves through precisely the wrong edges of the Polish urban miracle: dirty streets filled with pawn shops and accidents, crumbling factories, unfinished building sites, and seedy boxing rings. Unsatisfied and socially (and socialistically) unsatisfactory, our hero (played by Skolimowski, a former boxer) drifts through it all, sleepwalking through every punch, except the one he needs the most. Three Skolimowski shorts from his Lodz film school days, The Menacing Eye, Little Hamlet, and Erotique, introduce the program.