Hungarian émigré László Moholy-Nagy's richest film is also one of his most constrained. With only 300 meters of film at his disposal, Moholy-Nagy concentrated his energies on a single section of the ancient city of Marseille, an impoverished and architecturally distinctive area known as the Vieux Port. Made shortly after Moholy-Nagy left the Bauhaus, the film encapsulates the interplay of Painting-Photography-Film celebrated in his much-discussed 1925 book. It also inaugurates a new independent style based on a purely cinematic synthesis of formal and social observation.