‘I am the camera eye, I am the mechanical eye. I am the machine which shows you the world as only I can see it’ – Dziga Vertov
"Man with a Movie Camera" met with bewilderment on its release but is now recognised as one of the most radical films of Soviet cinema, and a major influence on Godard, Marker and others. It’s a great city-symphony: the ‘Kino-Eye’ turns the camera into the protagonist, providing an impressionistic, lyrical portrait of a day in the life of Moscow’s masses at work and at play. But Vertov also investigates film itself, wittily transforming the world caught by his lens with a dazzling array of experimental camera and editing techniques. The constant invention remains astonishing to this day.