Sergei Loznitsa’s documentary Imperium offers a mesmerizing look at life in the Soviet Union during the early 1970s. The film is made from archival footage shot between 1970 and 1973 by an Italian film crew, likely with official permission. Unlike traditional documentaries, Imperium doesn’t use interviews or voiceover narration. Instead, it relies on ambient, observational footage to convey the era’s atmosphere. Each segment begins with the sound of a funeral bell, followed by a sudden cut to a bright red screen, creating a rhythmic and meditative viewing experience. The film captures daily life in major cities like Moscow, Leningrad, and Kyiv, showing everything from bustling streets and shopping scenes to provincial fashion shows and pop music performances. It also highlights rural traditions that existed long before the Soviet era and may still be practiced today. One particularly striking scene features a display that seems to involve setting fire to a large phallus—a surreal and possibly symbolic moment. The documentary also emphasizes the USSR’s ethnic diversity, suggesting that Soviet authorities were comfortable with the cultural expressions shown, as they reflected the broad acceptance of communist ideology among the population. Notably, Imperium avoids depicting the harsh realities of the Soviet system, such as the gulags or oppressive state institutions. The only direct references to state power are scenes of soldiers marching in October Revolution parades in Red Square. This absence raises questions about the authenticity of the life being presented. Some footage appears bleak, evoking the same sense of stoicism seen in British films from the same period. The documentary’s most human moments come through its close-ups of children, whose unguarded expressions—sometimes scowling, sometimes smiling—suggest a lack of the emotional restraint seen in adults. Loznitsa’s Imperium is a quiet, reflective work that invites viewers to ponder the contrast between the official image of Soviet life and the unspoken realities behind it. By focusing on visual storytelling and avoiding direct commentary, the film challenges audiences to draw their own conclusions about the era’s complexities.