The scholar Marcin Maron is right to remark that such spaces, cluttered with objects from the past, convey a hidden presence of memory, thus establishing time as a significant factor that regulates the spatial dimension of Loop’s reality. This can also be observed in How to Be Loved (Jak być kochaną) from 1962, where the effects of time on the setting manifests itself not only through the persistence of memory in spaces immersed in bygone days. This film builds an even stronger link between the temporal and spatial dimensions. The setting plays an important role in differentiating between the present and the past, as the plot of the film relies heavily on retrospection, specifically the memories of Felicja, an actress aboard a plane to Paris who reminisces about events that took place during World War II. It is in hindsight that the entire story of her dramatic love unfolds. Eberhardt contrasts Has’s signature cluttered spaces that provide the setting of scenes from the past with the sterile environment of the aircraft in the scenes from the present.
Once again, the setting becomes subordinated to time, the fundamental force and theme of Has’s films, as many commentators of his works agree. In terms of the temporal order of the filmic reality, Maron points out that whereas the previous films focussed on an individual and subjective perception of time, How to Be Loved introduces a new level related to the historical period of the war and occupation, which determines the fate of the protagonists. The film was Has’s first work to receive unanimous critical acclaim, and it consolidated his position as a filmmaker. Even so, his most renowned and ambitious cinematographic projects were still to come.