Dziga Vertov's works have always been challenging and that's especially true of
Love on a Leash, a hodgepodge of footage of a canine and a woman that, among many other unorthodox filmmaking touches, frequently eschews audio entirely over sequences that should typically have dialogue or music. Clearly, Vertov is using this mechanism to speak to the emptiness of the human condition, there is truly nothing in the souls of these characters so why should they be accompanied by sound or music? It's a bold approach to filmmaking that's accompanied by similarly off-kilter choices like returning to a pair of ducks swimming in a pond as a sort of visual motif. There's also a disjointed style of editing that sees entirely new sequences beginning before you even realize prior sequences were over.
