Ivan the Terrible, Part II: The Boyars' Plot follows the life of Ivan the Terrible as he faces a conspiracy by the boyars to overthrow him. The film explores themes of power, brutality, and political intrigue in 16th century Russia.

Ivan the Terrible is a two-part Soviet epic historical drama film written and directed by Sergei Eisenstein. A biopic of Ivan IV of Russia, it was Eisenstein's final film, commissioned by Soviet Premier Joseph Stalin, who admired and identified with Ivan. This version includes both movies.

In the midst of the 1905 Russian Revolution, the crew of the battleship Potemkin rebels against their oppressive officers, leading to a series of events that challenge the authority of the Imperial Russian Navy and ignite the social unrest in Odessa.

Alexander Nevsky tells the story of a Russian prince who defends his homeland against an army of German Teutonic Knights. With his bravery and strategic tactics, he leads his people to victory in a crucial battle.

Ivan the Terrible, Part I is a biographical drama that depicts the rise of Ivan the Terrible to power and his struggle to maintain control over Russia in the 16th century. The movie explores themes of power, betrayal, and the lengths people will go to gain and keep power. It showcases the brutality of the time period and Ivan's ruthless tactics to maintain his position as the Tsar of Russia.

In the Russian Empire, a labor strike erupts as workers protest against their exploitative working conditions, corruption, and the cruelty inflicted upon animals. The rebellion grows in intensity, leading to a fierce fight for workers' rights and justice. Amidst the turmoil, the working class is pushed to the edge, suffering from starvation and social unrest. The movie explores themes of class struggle, anti-capitalism, and the oppressive nature of the Tsarist regime.

In the midst of the Russian Revolution, a group of Bolsheviks led by Vladimir Lenin and Leon Trotsky overthrow the provisional government and seize control of the Winter Palace. The film captures the unrest and social discontent that led to the revolution, as well as the ensuing power struggle within the Bolshevik party.

During his adventure in Mexico, Sergei Eisenstein made footage of a Mexican "Death Day" celebration for inclusion in his "Que Viva Mexico!" film project. When the 200,000-plus feet of film he eventually exposed in Mexico was first attempted to be made into a feature film, "Thunder Over Mexico", the producers excluded the Death Day material for subsequent compilation as an independent short subject. Silent with music track and explanatory English intertitles.

Que Viva Mexico! is a documentary film that depicts the social differences, love, animal abuse, uprising, and other aspects of the Mexican Revolution. The film explores themes of exploitation, socialism, matriarchy, and the struggles faced by the Mexican people. It showcases various cultural elements such as bullfighting, fiestas, and religious practices. The film remains unfinished but provides a glimpse into the complexities of Mexican society.

As was common in Diaz's Mexico, a young hacienda worker finds his betrothed imprisoned and his life threatened by his master for confronting a hacienda guest for raping the girl. This film is the first of several attempts to make a feature-length motion picture out of the 200,000-plus feet of film shot by Sergei Eisenstein, on photographic expedition in Mexico during 1931-32 for Upton Sinclair and a cadre of private American producer-investors. Silent with music and English intertitles.

The General Line is a 1929 Soviet propaganda film that showcases the triumph of collectivization and modernization during the era of communism. Set in a rural setting, the movie portrays the life of a peasant and the struggles faced by them in adopting the new system. With its powerful communist propaganda, The General Line aims to promote the benefits of collectivization and the ideology of communism.

Thematic anthology of : Le retour a la Maison (1923) by Man Ray; Emak-Bakia (1926) by Man Ray; L'Etoile de Mer (1928) by Man Ray; Les Mysteres Du Chateau de Dé (1929) by Man Ray; Rhythmus 21 (1921) by Hans Richter; Vormittagsspuk (1928) by Hans Richter; Anemic Cinema (1926) by Marcel Duchamp; Ballet Mecanique (1924) by Fernand Léger; Le Tempestaire (1947) by Jean Epstein; Romance Sentimentale (1930) by Grigori Aleksandrov and Sergei M. Eisenstein; La Coquille et le Clergyman (1928) by Germaine Dulac; Regen (Rain) (1929) by Joris Ivens and Mannus Franken

Unedited film that Sergei Eisenstein, Grigoriy Aleksandrov and Eduard Tisse shot in Mexico 1931-32. This record only represents the 200,000-plus feet of unedited film that Sergei Eisenstein, Grigoriy Aleksandrov and Eduard Tisse shot in Mexico 1931/32 for Mary and Upton Sinclair and three American co-financiers. It was Eisenstein's vision to end up with movie about Mexico in six parts called "Calavera", "Sandunga", "Maguey", "Fiesta", "Soldadera", and "Epilogue". The project was canceled before it was completed due to cost overruns and months-delayed completion, and the producers refused to let Eisenstein attempt to edit anything from the material he had finished after Iosif Stalin called him back to the USSR. From this footage the following pictures were subsequently edited by other hands: Thunder Over Mexico (1933), Eisenstein in Mexico (1933), Death Day (1934), Time in the Sun (1940), and Que Viva Mexico (1979).

Bezhin Meadow: Sequences from an Unfinished Film is a controversial drama about a lost film that explores themes of oppression, revolution, and propaganda. The story follows a group of individuals, including a worker, a prisoner, and a peasant, as they navigate the challenges of Russian revolution. The film also delves into the relationships between father and son, and the clash between traditional and modern ideologies. The controversy surrounding the film arises from its anti-clericalism and homoerotic undertones. It features scenes depicting a homoerotic fight, an arsonist, a death of a mother, and a politically incorrect portrayal of the church.

Archive footage from Potemkin (1925), with English dialogue dubbed in by American actors, is combined with new footage to tie together the brave stand of Odessa Russian guerrilla bands of the 1940's against German forces with the similar situation of 1905 when Odessa citizens aided in the revolt against the Czar as depicted in Eisenstein's classic Potemkin (1925).

In this 1930 movie, a romantic story is told through music and nature. The film captures the emotions and feelings of love, melancholy, and longing. The beautiful melodies and the breathtaking scenery create a nostalgic atmosphere, transporting the audience to a timeless world of romance.

Glumov discovers a magical diary that transports him to various absurd situations, including being transformed into a chicken and encountering a mysterious clown. Based on a play, this silent film is a comedic and fantastical adventure.

Footage of the aftermath of the January 14 1931 earthquake in Oaxaca, Mexico.

Second attempt to create a feature film out of the 200,000-plus feet of film which Soviet film-maker Sergei Eisenstein shot during 1931-32 in Mexico for American socialist author Upton Sinclair, his wife and a small company of investors. The projected film, to be called "Que Viva Mexico", was never completed due to exhaustion of funds and Stalin's demand that Eisenstein return to the USSR (he had been absent since 1929). The first attempt at editing the footage, in the USA, resulted in "Thunder Over Mexico", released in 1934. In 1940, Marie Seton, from the UK, acquired some of the footage from the Sinclairs in an attempt to make a better cutting according to Eisenstein's skeletal outline for the proposed film. This film has apparently been lost.