Nikt nie woła (Nobody's Calling) is a Polish black-and-white narrative film from 1960, directed by Kazimierz Kutz, loosely based on the novel of the same title by Józef Hen.

Initially dismissed by critics, Nikt nie woła later gained recognition as one of Kutz's most important works, and it was seen as a creative dialogue with Andrzej Wajda's film Ashes and Diamonds (1958).

Director Kazimierz Kutz, who had previously achieved success with his film debut Krzyż Walecznych [pl] (Cross of the Brave, 1959), based the screenplay on the unpublished novel by Józef Hen titled Nikt nie woła za oknem (Nobody's Calling Outside), which was set in wartime Uzbekistan.

[6] On 7 April 1959, amid divided opinions, the Script Evaluation Commission approved the film for production, contingent upon the protagonist adopting a "more correct" ideological stance than Maciek Chełmicki from Ashes and Diamonds (1958) by Andrzej Wajda.

[7] Jerzy Wójcik, responsible for the cinematography of Nikt nie woła, justified the film's aesthetic as follows:[8]Man and objects are subjected to the action of time.

[9] As later analysis by Paulina Kwiatkowska revealed, Wójcik consciously employed expressive means such as close-ups, plastic manipulation of shades of gray, and predominantly unhurried camera movement.

[16] However, censorship permanently cut this scene from the film, which Kutz commented on as follows: "Deprived of its point, Nikt nie woła resembles a naked man with covered or castrated genitals".

[17] Nikt nie woła was commonly interpreted as a creative polemic with Andrzej Wajda's Ashes and Diamonds (Maciek Chełmicki, unlike Bożek, executed the order).

[17][18] Jan F. Lewandowski stated that Nikt nie woła is "a study of youthful love, or rather emotional immaturity", describing it as "a work of poetic sensitivity".

[5] According to Adam Garbicz [pl], Kutz and Hen's work is "a brilliant cinematographic and editing portrayal of the spiritual life of young people [...], not inferior in formal terms to the pioneering endeavors of Antonioni".

[19] Jan F. Lewandowski, praising the atmospheric music of Wojciech Kilar and the cinematography of Jerzy Wójcik, wrote: "The extraordinary scenery of a dying world creates the truth of this film about impossible love, and some shots amaze with their beauty and refinement".

[21] Gazda regarded Nikt nie woła as "the most significant film in the biography of Kazimierz Kutz and one of the most important in Polish cinematography, although at the time it was undervalued".