A 1927 Soviet silent film set in cramped Moscow housing during the NEP, Bed and Sofa follows three people — two men and a woman — sharing one room, one bed, and one sofa. Directed by Abram Room with script by Viktor Shklovsky, it observes, without comment, how scarcity, gendered labour, and unspoken desire reshape intimacy. Its realism is architectural, psychological, and unsentimental.
The End of St. Petersburg (1927), directed by Vsevolod Pudovkin and Mikhail Doller, traces a peasant boy’s journey from rural innocence to revolutionary clarity across four years of upheaval in pre-Soviet Russia. Shot in stark, rhythmic montage by Anatoli Golovnya and edited by Oleksandr Dovzhenko, it avoids individual psychology in favour of systemic analysis — linking factory exploitation, imperial war, and bread riots to the fall of Tsarism and rise of the Bolsheviks. Commissioned for the October Revolution’s tenth anniversary, it is a didactic, formally rigorous work of political cinema.