Portraying intense love relationships throughout his war trilogy, Wajda creates significant romantic subplots that question if true love can exist during periods of war. Across these three films, Wajda highlights the idea that rules no longer apply to romantic relationships when love and politics mix. In "A Generation," Wajda speaks on behalf of the tormented nation of Poland, and tells the stories of the masses of people bound by a common fate. Stach, who is the main character and the narrator of the film, is nothing but a young boy who is toying with danger. The young but more enlightened Dorota is the beautiful Communist that provokes Stach to join the anti-Nazi organization. The relationship that develops between Stach and Dorota is equal in meaning to that of Stach’s commitment to the cause: it is all a childish game. Drawn in by Dorota’s energetic spirit, Stach only becomes infatuated with her, initially that is where his motivation comes from and not the actual movement which she represents. Throughout the film Wajda creates this idea of collectivity when in actuality the characters were never a genuine group to begin with; not even Dorota and Stach in their proclamations of love. This is further conveyed in the scene where Stach, who has just left Dorota, is inside of a large empty heart that reads, “I shall wait for you.” This works as a premonition of what is to come; Stach stands alone in his childish games and will do no waiting for Dorota. In the end, little tears were shed for their collapsed relationship, Dorota’s capture is just the reality of the struggle and the Stach must persist in the fight. "Kanal," the second in Wajda’s war trilogy, features meticulously combined narratives while following a band of surviving Polish Home Army soldiers in their last hours of life trying to avoid capture from the German Nazis. Before the soldiers begin their journey into misery and suffering in the sewers there is