The author attempts to identify the origins of the famous argument between Milosz and Konwicki about the film adaptation of Dolina Issy . Konwicki created a film which, although it is an adaptation of the novel, clearly belongs to his own creative output, focused on axiological uncertainty after The Second World War. Konwicki’s work is a record of a quest for enduring points of reference, a quest conducted with realisation that such points cannot be found by a person who feels lost in the modern world. Such a world-view was not acceptable for Milosz, and it is difficult to expect that the poet would accept an adaptation of his novel created from such a point of view.