Introduction The given sequence from The Battle of Algiers reflects the struggle of Algerians against French occupation. The plot is based on the work of the national liberation front of Algeria and the confrontation of French security forces. The director, Gillo Pontecorvo, does not focus on any main character, trying to show the mood and tragedy of people in general. As one of the most prominent political films, The Battle of Algiers presents complex relationships between the local population and foreign occupations, where the beginning sequence with an old man and the one with three women planting the bomb position spectators politically and determine their attitudes. Terms, Quotes or Supporting Texts The given film is shot in a documentary genre in the city of Alger two years after the Algerian War. Despite the violence of French colonial rule, the Front de Libération Nationale (FLN) leaders united to combat injustice and oppression. The film focuses on Arab Algerians, in general, to show their feelings and behaviors in such a difficult period. A diverse shot from all possible plans: from the crowd, the horizon, the height, near the heroes, and in the company of the soldiers gives a secondary sense of reality as if it was accidentally attested and chronicled. As for the editing technique, fast frame change and white and black form make it associated with Italian neorealism cinema. Music and sound effects play a great role in the film. For example, while women from FLN prepare for a bombing, a viewer may listen to drums rather than dialogues that symbolize their method of struggle. Truck engineers and helicopters are sounds of French methods. The fictional realism to link television people get used to seeing the truth. In addition, the viewer also observes the work of the guerrillas, the organization of the underground, and the very scenario of the revolution, which almost turned into a civil war not on the scale of full-scale combat operations, but in demonstrations of protest to the authorities and strikes. Example 1 The mutual antipathy between Arab Algerians and the Algerian French is revealed in the darkest tones in the course of the film. The first ones have built the image of Frenchmen as oppressors who have put the country in the abyss of filth and debauchery causing ignorance and poverty: for example, the episodes with the old man in the French quarter 1 . Focusing on the argument by Robert and Spencer, who claim that film editing positions viewers in a political manner, it is possible to note that the given film shooting also impacts spectators’ attitudes 2 . The camera moves slightly to catch up with the characters’ emotions. When the old man is given clothes and told to spy for French soldiers, the camera focuses on his face that clearly shows his emotions. Namely, the face of the man represents sorrow and despair. The man cries “no”, and the soldiers return him back. At this point, spectators observe the whole scene, noting cruelness of French invaders. Watching the film, one feels consistent with Robert and Spencer, who emphasize that editing of the film cultivates the point of view. In this case, the film editing promotes compassion to Algiers represented by the old man and stimulates anger towards French people. Example 2 The second example refers to three women who filtered the European area to plant bombs. This sequence is presented