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The Impossible Film

By: Editors

In the late 1920s, the great Soviet director Sergei Eisenstein made notes for a dream project: Das Kapital, the film.

(“The Capital Diaries: A New Selection.”)

In the late 1920s, Soviet filmmaker Sergei Eisenstein began a quixotic project: adapting Karl Marx’s Capital into a film. But Eisenstein wasn’t trying to tell a conventional story. He wanted to create a cinematic version of Marx’s own method — chaotic, sprawling, illuminating. His notes for Capital are not a script but a surreal, fragmented hypertext — a visual […]

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In the late 1920s, Soviet filmmaker Sergei Eisenstein began a quixotic project: adapting Karl Marx’s Capital into a film. But Eisenstein wasn’t trying to tell a conventional story. He wanted to create a cinematic version of Marx’s own method — chaotic, sprawling, illuminating. His notes for Capital are not a script but a surreal, fragmented hypertext — a visual […]

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In the late 1920s, Soviet filmmaker Sergei Eisenstein began a quixotic project: adapting Karl Marx’s Capital into a film. But Eisenstein wasn’t trying to tell a conventional story. He wanted to create a cinematic version of Marx’s own method — chaotic, sprawling, illuminating. His notes for Capital are not a script but a surreal, fragmented hypertext — a visual […]

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In the late 1920s, Soviet filmmaker Sergei Eisenstein began a quixotic project: adapting Karl Marx’s Capital into a film. But Eisenstein wasn’t trying to tell a conventional story. He wanted to create a cinematic version of Marx’s own method — chaotic, sprawling, illuminating. His notes for Capital are not a script but a surreal, fragmented hypertext — a visual […]

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