The camera’s eye never blinks; it constructs a new reality in every frame. Dziga Vertov does not merely document the geography of the Soviet Union at the beginning of the 20th century and the new life sprouting on this land. As he captures the frenetic hustle and bustle of young revolutionaries in the streets, the posters hung on walls, and the calls for cooperatives, he pushes the limits of the mechanical eye. One of the most original examples of the Soviet Realism movement, the film defies the flow of time with its reverse-play sequences. These experimental moments—where loaves of bread return to the oven and slaughtered animals come back to life—redraw the boundaries of documentary cinema with a mechanical rhythm.