這部默片經典作品是電影史上劃時代的巨獻，最能表現蘇聯電影大師艾森斯坦(Sergei M. Eisenstein)的蒙太奇藝術精義。內容描述在1905年發生於波坦金號戰艦上的一次嘩變，該艦原是帝俄海軍的驕傲，但一連數月伙食太差，肉都長滿了蛆，水兵因抱怨伙食而遭軍官擊斃，由此引發叛變。軍艦開到奧德薩石階接受人民的食物補給，但步兵趕到鎮壓，發生了階梯上的大屠殺。這段高潮是影史上最著名的場面之一，鏡頭剪接精準，母親眼看嬰兒車滾下石階的一段尤為代表作。本片在1929年美國全國電影評議會評選1909年以來的4部「最偉大的影片」中名列第三。影片以古典悲劇式的精巧結構和史詩般的格調，以寓意深刻的細節和畫面構圖，以及節奏鮮明的電影語言，以對稱、重複、隱喻和象徵等富有詩情畫意的蒙太奇技巧，表現了尖銳的矛盾衝突和重大鮮明的戰鬥性主題，此片標誌著世界電影藝術的長足進步和蒙太奇理論的進—步完善。階梯上的大屠殺這段高潮是影史上最著名的場面之一，鏡頭剪接之精準，影像衝擊力之強，至今仍未減弱。母親眼看嬰兒車滾下石階的一段尤為代表作，後來美國片《鐵面無私》的火車站槍戰場面就是向本段的致敬。

A cameraman wanders around with a camera slung over his shoulder, documenting urban life with dazzling inventiveness.

Sergei M. Eisenstein's docu-drama about the 1917 October Revolution in Russia. Made ten years after the events and edited in Eisenstein's 'Soviet Montage' style, it re-enacts in celebratory terms several key scenes from the revolution.

This documentary promoting the joys of life in a Soviet village centers on the activities of the Young Pioneers. These children are constantly busy, pasting propaganda posters on walls, distributing hand bills, exhorting all to "buy from the cooperative" as opposed to the Public Sector, promoting temperance, and helping poor widows. Experimental portions of the film, projected in reverse, feature the un-slaughtering of a bull and the un-baking of bread.

An ignorant and prejudiced American’s visit of Soviet Russia goes off the rails after his luggage is stolen and he is separated from his bodyguard.

Life is short and full of oppression, but that doesn't mean Parasha can't find love and laughter when she leaves her country home to take a job as a maid in the overcrowded, overworked, and underpaid world in the big city.

Shortly before the outbreak of WWI, a peasant from rural Russia arrives in St. Petersburg to find work.

The film tells about the Decembrists’ revolt in the south of Russia. Right before the Decembrist Revolt 1825 a chevalier of fortune decides that it's time for a game. But on whom to make a bet? He asks the cards. But he's not the only one who makes the choice.

The story of Stalin and the Soviet people.

Typically of the heady days of early Soviet cinema, this is constructed according to the fast, sharp editing principles advocated by Eisenstein, complete with symbolic inserts; but in terms of subject matter, it's much less explicitly political than most movies emerging from Russia in the '20s. Chronicling a young sailor's descent into a murky, treacherous underworld of pimps and thieves, after having encountered a Louise Brooks lookalike at a fairground and missed his departing boat, it's a lively moral fable that delights in vivid visual effects and quirky characterisations. If the plot occasionally reveals gaping holes, and the tacked-on ending urging the clearance of the Leningrad slums seems to be rather gratuitous, there's enough going on to keep one attentive and amused.

A satiric comedy which dissects the iconography of the 'Soviet Hero'. Original footage of a propaganda film from 1941 is the starting point for this parody of the ideological cliches of Soviet cinema. It follows the story of a Russian crew across the North Pole.

Made on the occasion of March 8, it presents a series of brief portraits of women, from various professional fields, of different ages and even of different ethnicities, pointing out the benefits that the communist organization had brought to their daily lives. A special emphasis is placed on their status as mothers and on the role of nurseries and socialist kindergartens not only in making their lives easier, but also in giving them the time they need to build a career. Another concern of the filmmaker, starting from the concrete case of one of the protagonists, is to highlight the differences between the happy present and the not-too-distant past in which someone with her social status should have dedicated herself exclusively to raising children, in hygienic and extremely difficult lives.