Of course, the interpretation of Dziga Vertov’s last full-length film “Lullaby” (1938) suggests itself as an unsuccessful attempt to establish avant-garde stylistics in the conditions of the socialist-realist “nationalization” of Soviet cinema in the 1930s. This is caused primarily by the lush symbolism of the film and the irrepressible praise of Stalin. Therefore, “Lullaby” can be considered as a clear example of the cultural and socio-political development of Soviet totalitarianism in the late 30s. As clear as the film’s place in the history of totalitarian culture is, the film is so complex and ambiguous from the point of view of the history of cinema in particular and the history of media in general. In this regard, we set ourselves two tasks in our analysis. Firstly, the important question is to what extent the appeal to a female plot corresponds to the general trend in the development of visual media, and especially cinema of the 20s and 30s, and also to what extent the ways of depicting women that we find in “Lullaby” , correspond to the stylistic searches of other directors of this time. This problem is accompanied by a second question - about the connection of visuality and visual media with the conceptualization of gender differences. It is with the second aspect of the problem that we will begin the analysis.