During the summer of 2015 I spent some days reviewing some classic silent film. Among those films was "Man with a movie camera" the director Dziga Vertov (Denis Kaufman) conducted in 1929 with a small team, his brother Mikhail Kaufman, his wife Elizaveta Svilova and himself. After the viewing I wanted to know more about the biography of the legendary film and its producers. I found out for example on family relations among the crew. Also that Vertov died young while Svilova dedicated her life to direct documentaries during World War II, including one on the discovery of the extermination camp at Auschwitz. I also learned that the shooting plan "Man with a movie camera” was responding to a production system characteristic of early cinema. That is, the labor separated by gender. The two brothers were mostly devoted to shoot with their cameras during long hours, mostly outdoors, while Svilova, Vertov's wife, devoted her time to process, sort and edit the film material. At that time the craftwork edition of celluloid was copious and intense, so it needed a large workforce in which mostly women were engaged. It resembled a textile sector in which women and children, as nowadays in some countries, was the biggest labor source. So I found it interesting to know that Svilova and Vertov continued with the usual division of labor of their environment and time. It is definitely "Man with a movie camera", even today, a milestone in the history of visual language. Dziga Vertov is also part of the myth of the pioneers of modern cinema. It is not so much so for his wife and editor of one of the movies that contributed the most with developments to the techniques of audiovisual editing, including the freezing of images, the slow motion and fast forward, the fade in and out, juxtaposition, nonlinear montage among many others. It is difficult to know for sure who promoted these formal experiments. Vertov is postulated in the credits as a global author of the work and Svilova only as an assistant editor. But we do not know if she is stated as this simply because at that time the editing was considered just an assistance work or if she really had no power of decision. When watching the film I stopped at one of the finest moments of the film. When Svilova herself is filmed by the camera doing her job. If we stop the frenetic editing and observe calmly we can see how those three minutes of footage are a tribute to the dedicated work of Svilova and in which other images of women and children overlap. As a homage to Svilova and her invisible and undervalued work I rescued that part of the film manipulating some of the moments, with the same style of film editing, freezing frames in which we can see briefly Svilova working, with the intention to appreciate her delicate concentration and devotion.