1925

Fervent expressions of agony, apprehension, and patriotic joy are made visceral in Battleship Potemkin’s recount of a historic naval mutiny, resulting from Sergei Eisenstein’s passionate experimentations in cinematic montage, and reaching a peak of visual, kinetic innovation that has never been surpassed.

Much like factory workers uniting in organised rebellion against their exploitative managers, Sergei Eisenstein lets revolutionary formal purpose drive every editing choice in Strike, building symphonic set pieces out of montages that possess a brisk, mathematical precision.