A single day unfolds across Soviet cities in this silent montage film by Dziga Vertov, shot without actors, sets, or intertitles. Cameraman Mikhail Kaufman roams Moscow, Kyiv, and Odesa capturing factory floors, trams, street births, weddings, funerals, and gymnasts, cutting between them with techniques Vertov invents on the spot: split screens, superimpositions, stop-motion, and a camera that seems to walk on its own tripod legs. The film doubles back on itself constantly, showing the cameraman climbing smokestacks and lying on train tracks to get his shots, then showing an editor splicing the very footage together, then showing an audience in a cinema watching the finished reels. Three films run at once: the city, the making of the film about the city, and the watching of that film. There is no plot and no title cards, only the rhythm of Mikhail Kaufman's editing set against Soviet daily labor. It remains one of the boldest arguments ever made that a camera can think for itself.