In 1980s Poland, lawyer Antek Zyro’s death leaves his wife, Ursula, grappling with grief. As his ghost haunts her, Ursula immerses herself in Antek’s final case, a political prisoner’s plight, to honor his memory amid societal upheaval.

Perhaps Krzysztof Kieślowski’s most political film, No End was condemned in the filmmaker’s native Poland on its initial release. A more serious tonal shift from his previous films, this ghost story of sorts puts forth a potent political argument in its two parallel plots.