In a remote area, the war has ended. In destroyed cities and houses on the streets, in small rural villages, and in places where people still live, there are children who have lost their homes and parents. They were abandoned, hungry, dressed in rags, defenseless, humiliated, and wandered around the world. Hunger drives them. The orphan's stream merged into a river and rushed forward, drowning everything along the way. The children have no feelings; They only know the enemy's world. They fight, steal, and compete for a bite of food, while violence is only a means of obtaining food. A group led by Kahorn found refuge in an abandoned castle and met an old composer who voluntarily retired lonely from a world of hatred, treason, and crime. How do they find common ground and become common friends? The castle became their hiding place, but it could also be their first home, and they could organize and must defend it. But even so, the price will still be very high. For this simple story, B é la Bal á zs, a journalist, writer, poet, screenwriter, film director and film theorist, has used years of experience. He and director G é za Radv á nyi created a work that opened a new chapter in post-war Hungarian cinema. Surprisingly, this film has not lost any influence over the years, especially in terms of profound philosophical aspects. That is to say, this is not just a movie about war; It doesn't matter where and at what time it happened. This is a story beyond time, telling the unfortunate fate of children who have paid a high price for the cruel war games played by adults. At its premiere, the film received a warm welcome from the critics. The main characters are played by street boys from a children's group, who have close contact with some professional actors and improvise their own characters. In the children's performances, their own new experiences of war turmoil seem to be reflected. At the same time, their performance admirably incorporates a very complex film language. Most importantly, Balz's influence was revealed in his opening remarks: an air raid on an amusement park, in a dramatic montage setting, evoking the last moment of war, where we undoubtedly saw the influence of Soviet classic film photography. Shooting, the boy's escape, the wheels of the locomotive, the shadow of the soldier holding a submachine gun, the whistle - these images are connected in a sudden order, emphasizing different shots and expressive sharp sounds. A carefully planned script avoids all sentimental elements, outdated stereotypes of wronged children, romanticism, and cheap simplification. The authors have successfully bridged the dangerous and dramatic abyss of the transformation of children's communities. Their stories (robbery scenes, attacks on castles, etc.) independently introduced some neorealism elements, which were being spread in Italy by Desica, Rossellini and other film artists at that time. The condemnation of contemporary critics, They called for people's attention "; formalism itself; has been forgotten. The superb art of photographer Barnab á s Hegyi has given vitality to poetic images. His shooting from the perspective of children and his composition of scenes inside the castle are vivid records of the times, highlighting the atmosphere and personality of the protagonist. The success of this film also benefits from the music art of composer D é nes Buday, who inserted the theme of Marseillaise into the end of the film under tension Construction, as a motivation for community unity, as an expression of friendship and understanding possibilities. Europolice "was the first important Hungarian film after the war. It originated from a relaxed atmosphere, filled with joy and pleasure, which includes these elements to showcase the power of humanitarianism, tolerance, and friendship. It represents a universal condemnation of any form of war anywhere in the world.