Once a long ago the father of Ostap left a village and came on earnings to Donbas. The lined up a shanty put beginning to miner's settlement of Sobacheevka. Ostap went on the way of father, thirty years of bending a back on the owner of mine. And when a father was driven out from work, Ostap understood that it is senseless to blame in the troubles only master.

Mother is a silent film that tells the story of a working-class mother in Saint Petersburg, Russia during the Russian Revolution. She becomes involved in the political unrest and ideology of the time, leading to tragic events and a struggle for justice.

The End of St. Petersburg is a silent film that depicts the events of the Russian Revolution in St. Petersburg. It follows the story of a factory worker who becomes a Bolshevik and joins the armed uprising against the Russian Empire. The film showcases the poverty and harsh conditions faced by the working class, as well as the brutality of the capitalist system. It also highlights the conflict between communism and capitalism during this historical period.

During the Russian Revolution, a Mongol herdsman is caught in the crossfire as different factions vie for control over the region.

The second part of trilogy about the life of a young factory worker, Maxim. In July 1914, the Bolsheviks and Mensehviks compete for representation of the working-class in the Duma. Maksim, who just returned from exile, calls the workers to strike as a protest against the firing of six of their colleagues. The traitor Platon Dymba assaults Maksim, wounding him severely. When the strike unfolds the workers demonstrate by the thousands, the news of the outbreak of World War I suddenly arrives. Maksim gets drafted.

Outskirts (1933) is a surrealistic drama set in a Russian village during World War I. The film explores themes of patriotism, forbidden love, and the harsh realities of war. It follows the lives of the villagers, including a cobbler who becomes a soldier, a factory worker, and a young girl caught in a love triangle. The plot also touches on the impact of the war on the village and its inhabitants.

The film tells about a band of demobilized Red Army men and two civilians who cross a Middle Asian desert. They are forced to do battle with superior forces of Basmachi rebels for the dry draw-well.

A young man, Russian by nationality, goes to a Turkmen bride in a remote border village, not knowing that his large family decides to surprise him and also goes to Turkmenistan to meet the bride and her parents. The chain of comic misunderstandings ends with an episode of a skirmish on the border with saboteurs.

The final part of trilogy about the life of a young factory worker, Maxim. Following the Russian Revolution, Maksim is appointed state commissar in charge of the national bank. With great efforts, he learns the complexies of the banking trade and begins to fight off sabotaging underlings. Dymba, now a violent enemy of the Republic, tries to rob a wine store but is arrested with Maksim's help. Maksim also exposes a conspiracy of a group of tsarist officers who prepare an attempt against Lenin. He then joins the Red Army in its fight against the German occupation.

Semyon Primak, in the direction of the regional committee, arrives in one of the small towns of Donbas and immediately enters into battle with the chief of the mine, Chub, who, in a situation of continuous assault, plays into the hands of the Trotskyites and bandits operating in the mine. Having received moral support from the new secretary, the best 'udarnik', shockworker Matvey Bobylev implements a new method of coal mining and, contrary to the intentions of the enemy group, finds a wide response among the miners of Donbas.

The daredevil pilot Sergei Belyaev takes a risk flying a plane which is not properly maintained and crashes dangerously, landing in hospital, his plane going up in smoke. The aviation student Galya Bystrova, having a crush with Belyaev, unfortunately tends to imitate him in the air. Later, heeding the advice of the wise headmaster Rogachev, they become experienced pilots. Bystrova is assigned to Pamir, and Rogachev, in love with her, is sent to Sakhalin.

Together with other graduates of the Maritime Institute, Irina Zakharova returns to her native Odessa. At the distribution commission, she seeks the appointment of the first assistant to the captain on the infamous Pobeda vessel, with the most loosened crew. Carrying a personal example of sailors, Irina successfully fights for a turning point in the mood of sailors, and when the ship gets into a storm, she shows the outstanding qualities of a real sailor. Against the background of these events, the theme of lyrical relationships between Irina and the navigator of the red-flagged ship "Abkhazia" Vasily in love with her is unfolding.

On the detention of fascist saboteurs and border violators by the collective farmers of Soviet Byelorussia. The main heroine, the actual "daughter of the Motherland", is the chairman of the kolkhoz, and has detained eight trespassers. But the main enemy may be lurking from within the borders.

The best bell-ringer of the church Fedor Kuzmich Shtukov becomes the foreman of production at the shipyard. Communists and Komsomol members are trying to persuade Fedor to forget about the church, but in vain. Daughter Anna laughs in the face of her father - and in vain too. But when the plant desperately needed a scarce metal, Shtukov, painfully thinking about his native plant, supported the proposal of one of the workers to cast the billet from the church bell, and the vessel was ready for launch on time.

The film’s content makes no concessions to the usual expectations of Soviet audiences of the 1930s. The cast of characters is extremely unlikely in almost every conventional respect. The action involves the household of the prominent Dr. Stepanov and his young wife, Masha, who share their large and richly adorned mansion with the parasitical Fedor Tsitronov, whose presence in the household is given only the most implausible of explanations. Equally implausible is the acquaintance of the family with the young and proud Grisha Fokin, whose leadership role in the Young Communist League is never clearly defined and who is never seen engaged in any work or professional activity.

The film is based on real events and reveals the tragic episodes from the life of the Austrian biologist scientist-materialist Paul Kammerer (1880-1926), hunted by regressive scientists and Catholic reactionaries who committed suicide.

As a response to criticism for the allegedly excessive “mass appeal” of his earlier epic STORM OVER ASIA (1928), Vsevolod Pudovkin unleashed his flair for experimentation in what was supposed to be the director’s first sound feature. Everything went wrong: technical problems forced him to complete the film as a silent; viewers were baffled by the lack of a recognizable plot; then, the ideological climate of the Soviet Union changed. He was now being blamed for catering to bourgeois taste! Time has come to set the record straight. Here’s lyrical cinema at its best, deliberately operatic and yet intimate as it matches the characters’ inner life with the solemn rhythms of nature, and depicted through breathtaking black-and-white photography. A sensation at last year’s Pordenone fest, Pudovkin’s long-forgotten swan song to the art of montage is resurrected by Gabriel Thibaudeau’s emotionally charged live music performance. –PCU (USSR, 1930, 75m)

A wise and forgiving communist leader decides to send a young worker, Karl Renn, as an international delegate to the Soviet Union after the worker had deserted a picket-line and had expressed doubts about the methods of class struggle in in his own country.

A group of Ukrainian women are forced to work in the mine under the supervision of cruel enemy soldiers. When the soldiers are forced to retreat and decide to blow up the mine, the women organize a guerrilla action to stop them.