Dziga Vertov’s experimental manifesto rejected theatrical storytelling to celebrate the 'mechanical eye' of the camera. By capturing life 'unawares,' it sought a truth deeper than human perception, using reverse motion, freeze frames, and animation. It laid the groundwork for Man with a Movie Camera and the entire distinct style of Soviet montage. This film is a radical assertion that cinema is not just a recording device but a tool to reorganize reality. It remains a vital text for understanding the political and artistic potential of the documentary form.