Taking an historical event from 1912, Eisenstein marries the new Soviet propaganda ideals of the heroic worker with his own theories of avant garde art. Following the suicide of a sacked factory worker, his colleagues hold a peaceful strike, but their bosses retaliate with savage force. Capturing the brutality with power and immediacy, Eisenstein's visuals move from the slaughter of cattle to the butchery of the Cossack army, simultaneously inventing and breaking cinematic rules.
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