The New Babylon "is a shining surface and profound metaphorical conflict of social cynicism, marking the climax of Grigory Kozintsev and Leonid Trumberg's experiment with Soviet silent film conventions. The two directors drew inspiration from the story of the Paris Commune in 1871 and created a highly conceptualized allegory of social classes under pressure, transcending its historical roots and making satirical comments on the human condition. Dimitri Shostakovich's music is also an indispensable part of the film's narrative structure. Usually in movies, music is used to praise or magnify visual images. This relationship is a combination. However, in 'The New Babylon', Shostakovich established a relationship through the opposition between sound and image. For example, in a concert hall scene, the composer would; It is possible; And "; The Marseillaise; The vulgar scenes of beauty pageants form a music critique of the French middle class. Although the avant-garde aspects of 'New Babylon' caused it to fall out of favor during the Joseph Stalin regime, it is precisely these factors that still attract attention today. Although "New Babylon" ranks slightly lower than the pioneering efforts of Sergei Eisenstein and Vsevolod Pudovkin, whose theories greatly influenced its creation, it still represents an innovative use of film and is one of the highlights of Soviet silent cinema.