Aleksandr Razumnyj - Mat aka Mother [Incomplete] (1919)

First screen adaptation of Gorky's " Mother"

Yakov Protazanov - Chelovek iz restorana aka The Man From Restaurant (1927)

Based on story by Ivan Shmelev.
The movie action starts very close before February democratic revolution in Russia in 1917.
Fate is cruel to waiter of capital city restaurant Skorohodov: his son dies on front, his wife perishes from grief, his daughter is excluded from grammar school because of lack of money to pay tuition.
Skorohodov decides to rent one of rooms in his poor apartment to a decent young man named Sokolin who is working as a courier in war industry committee .
The lodger and a girl fall in love with each other and soon decide to get married.
In meantime the father appoints his daughter as a violiinist in restaurant orchestra.
But rich factory owner Karasev rudely molests young blonde violinist and through blackmail expects to make her his mistress.

Kote Mardjanishvili - Komunaris chibukhi aka Trubka komunara aka Pipe of Communard (1929)

movie about living and fighting of Paris Commune and fate of the little boy - Communard.
based on Ilya Ehrenburg novel.

Yakov Protazanov - Don Diego i Pelageya aka Don Diego and Pelageya (1928)

Anatoli Dolinov & Aleksandr Panteleyev & Donat Pashkovsky - Uplotneniye (1918)

The first scenario work of Anatoliy Lunacharsky.

The first Soviet kinopostanovka Petrograd kinokomiteta (now - Lenfilm Studio).

November 7, 1918 - the date of the first issue on the screens of Soviet films. On this day it was released four paintings, three of them - campaign.

In order to seal one of the rooms of Professor relocated from raw basement working with his daughter. Flats start attending the factory workers. Guests are becoming more and more, and the professor begins to read popular lectures in the workers' club. Between the younger son of a professor and his daughter working there is a feeling and the characters decide to get married ...

Friedrich Ermler - Parizhskii sapozhnik AKA The Parisian Cobbler AKA Paris Shoemaker (1927)

Friedrich Ermler (1898-1967) remains one of the shadowy figures of the early Soviet cinema, known if at all for his psychological parable Fragment of an Empire. But he was a major force among the Leningrad filmmakers of the 1920s and '30s, whose sympathies lay closer to youth and realism than to the monumental frescoes of the Moscow 'masters.' The Parisian Cobbler is impossible to hide from inquisitive looks and gossips in a small provincial town. Film tackled a controversial theme head-on: the sexual exploitation of women by party activists in the name of 'free love.' Hapermill worker, Young Communist Leaguer Katya and Andrei are not hiding their love. All of a sudden Katya’s radiant hopes break to pieces: Andrei is indignant to hear the news that Katya is expecting a baby. He does not want “to change diapers”, this “trivial life” will interfere with his plans to “build bright future”. Katya is befriended by a cobbler who, as a mute, knows what it is to be a social outcast. Ermler's spare and uncompromising style reveals the extent to which realism was already on the agenda before it became a repressive slogan in the mid-thirties. As usual with Ermler, the film is not only about a problem, but is also about everyday life.

Dziga Vertov - Kinoglaz AKA Kino-eye (1924)

Quote:

Dziga Vertov, whose renegade approach to cinema is best remembered in the legendary Man With a Movie Camera and his series of Kino-Pravda newsreels, demonstrates his mastery of montage in this 1924 feature previously unseen in the U.S.

An outspoken critic of the purely plot-driven motion picture, Vertov challenged other filmmakers to rebel against the Western story-oriented cinema. Vertov argued that filmmakers should use their camera to capture "the chaos of visual phenomena filling the universe" and through clever editing, develop these random images into a more honest, more genuine record of the Soviet experience.

Dziga Vertov - Kino-pravda no. 13 (1922)

Kino-Pravda (“Film Truth”) was a newsreel series by Dziga Vertov, Elizaveta Svilova, and Mikhail Kaufman.

Working mainly during the 1920s, Vertov promoted the concept of kino-pravda, or film-truth, through his newsreel series. His driving vision was to capture fragments of actuality which, when organized together, showed a deeper truth which could not be seen with the naked eye. In the “Kino-Pravda” series, Vertov focused on everyday experiences, eschewing bourgeois concerns and filming marketplaces, bars, and schools instead, sometimes with a hidden camera, without asking permission first.