Dziga Vertov - Shagay, sovet! aka Forward, Soviet! (1926)

Quote:
Commissioned by the Moscow Soviet as a documentary and information film for the citizens of Moscow prior to municipal elections, film is a tableau of Soviet life and achievements in the period of reconstruction following the Civil War of 1917-1921.

Vsevolod Pudovkin - Shakhmatnaya goryachka aka Chess Fever (1925)

PLOT SUMMARY
Chess Fever is a comedy about a man who, though soon to be married, already has a mistress – chess. His bride-to-be, knowing nothing of the game but seeing that his heart resides on the sixty-four squares of the chessboard, freaks out and storms onto the snow-covered streets in hysteria.

Oleg Frelikh - Prostitutka aka Prostitute (1927)

From Imdb:
Prostitution, Statistics And Harangues, 13 November 2009
5/10
Author: FerdinandVonGalitzien

"Prostitutka" (1927) is a Bolshevist silent rarity, unusual because of its subject matter, that being prostitution in the U.S.S.R. The world's oldest profession requires a treatment both delicate and balanced, not an easy topic for a first time director like Herr Oleg Frelikh. Actually, this little known work was Frelikh's only film as a director (prior to this, he had been an actor) and it's a flawed but interesting effort.

Sergei M. Eisenstein - Dnevnik Glumova AKA Glumov's Diary (1923)

The first film from Eisenstein.

From allmovie

" Eisenstein's interest in film began with an appreciation of the work of D.W. Griffith, whose editing style influenced him in the production of his first cinematic endeavor, the 1923 five-minute newsreel parody Dnevnik Glumova. A stint with Lev Kuleshov's film workshop followed, as did an increasing fascination with the burgeoning avant-garde."

Abram Room - Tretya Meshchanskaya AKA Bed And Sofa (1927)

A married couple have a small apartment in Moscow. When an old friend of the husband's arrives in the city, he is unable to find lodgings. Kolia, the husband, invites his friend to move in with them. While Kolia is away on business, sensual Liuda and attractive Volodia fall in love and have an affair. After his initial outrage, the husband calms down. Kolia winds up on the sofa, and the three settle into a menage-a-trois until the wife finds herself pregnant. The two men are trying to decide what to do, but Liuda is strong enough to make her own decisions. Considered a landmark film because of humor, naturalism, and its sympathetic portrayal of the woman.

Grigori Kozintsev - Novyy Vavilon AKA The New Babylon (1929)

NEW BABYLON is the glittering climax of Soviet silent cinema (Jay Leyda in ‘Kino’).
The film deals with the defeat of the French in the Franco-Prussian War (1870/71) and the historic Paris Commune and its tragic short existence in the spring of 1871.

Sergei M. Eisenstein & Grigori Aleksandrov - Staroye i novoye (Старое и новое) AKA Old and New (1929)

REVIEW by Jonathan Rosenbaum (from The Chicago Reader):

This is the most neglected of Sergei Eisenstein's features, his last completed silent picture (1929), also known as The Old and the New. It's a bucolic epic about the Soviet struggle to collectivize agricultural production, and it's far from his least interesting or exciting film, though some critics have made it sound that way by noting that the most famous sequence involves a cream separator. For the record, it is a thrilling sequence--part of Kenneth Anger's Eaux d'artifice is modeled directly after it--but it's far from the only thing this rich, poetic, and sometimes quite funny film has to offer. Recommended.

Vsevolod Pudovkin - Konets Sankt-Peterburga (Конец Санкт-Петербурга) AKA The End of St. Petersburg (1927)

Filmed to commemorate the tenth anniversary of the 1917 Russian revolution, End of St. Petersburg was the second feature-length effort of director V. I. Pudovkin. Utilizing many of the montage techniques popularized by his contemporary Sergei Eisenstein, Pudovkin details the fall of St. Petersburg into the hands of the Bolsheviks during the revolution. Unlike Eisenstein, Pudovkin concentrates on individuals rather than groups (his protagonist is a politically awakened peasant played by Ivan Chuvelyov) humanizing what might otherwise have been a prosaic historical piece. The mob scenes, though obviously staged for ultimate dramatic impact, are so persuasive that they have frequently been excerpted for documentaries about the Russian Revolution, and accepted by some impressionable viewers as the real thing. Filmed just after his 1926 masterwork Mother, The End of St. Petersburg was followed by the equally brilliant Storm Over Asia.- allmovie.com

Yakov Protazanov - Aelita (Аэлита) AKA Revolt of the Robots (1924)

Directed by Soviet filmmaker Yakov Protazanov made on Mezhrabpom-Rus film studio and released in 1924. It was based on Alexei Tolstoy's novel of the same name.

AllMovie wrote:
The Marxist struggle reaches outer space in this fanciful Russian science fiction film from the silent period. Los (Nikolai Tsereteli) is an engineer who dreams of traveling to other worlds and imagines that a beautiful woman named Aelita (Yuliya Solntseva) lives on the planet Mars. Frustrated with the petty political conflicts that are a big part of life on Earth, Los builds a spaceship and travels to Mars, where he discovers that the lovely Aelita really does exist and is Queen of the Planet. However, the realities of political struggle do not escape him; it seems that the Martian proletariat are attempting to rise up and take power just as the Russian rank and file did, and Los once again finds himself standing between the ruling leadership and the workers attempting to take control of their own lives.
4/5

Grigori Aleksandrov & Sergei M. Eisenstein - Oktyabr AKA October AKA Ten Days That Shook the World (1928)

Description: Expanding on his editing experiments in Battleship Potemkin (1925), Sergei Eisenstein melded documentary realism with narrative metaphor to depict the pivotal events of the Russian Revolution in October (1927). Commissioned to commemorate the 10th anniversary of the 1917 October Revolution, Eisenstein focused on a few key events from February 1917 to October 1917. Underlining the symbolic importance of those episodes, Eisenstein constructed October as an elaborate "intellectual montage," deriving meaning from the metaphorical or symbolic relationships between shots. Drawing out narrative time through cutting, Eisenstein turns an opening drawbridge into a sign of the divisive struggle in St. Petersburg. Similarly exaggerating the time that it takes provisional leader Kerensky to climb a palatial staircase, and intercutting shots of Kerensky with a Napoleon statue and a mechanical peacock, Eisenstein satirically reveals Kerensky's imperial hubris and vanity. Having done extensive research for accuracy, Eisenstein also staged mass battles, particularly the storming of the Winter Palace, with thousands of extras, including the Soviet army. Before October's release, however, Josef Stalin's ascent to power required Eisenstein to edit out all references to Stalin rival Trotsky. Neither the Soviet public nor the Soviet leaders cared for the finished film; the government accused Eisenstein of "formalist excess." An edited version of the film was released in the U.S. using the title of John Reed's book, Ten Days That Shook the World. While the film's whole is not as great as its parts, the abstract power and narrative innovation of its greatest sequences still render it a seminal work in the development of film form.
~Lucia Bozzola allmovie

Sergei M. Eisenstein - Bronenosets Potyomkin (Броненосец Потёмкин) aka Battleship Potemkin (1925)

Description: Based on the historical events the movie tells the story of a riot at the battleship Potemkin. What started as a protest strike when the crew was given rotten meat for dinner ended in a riot. The sailors raised the red flag and tried to ignite the revolution in their home port Odessa.