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The assumptions upon which film investments in the 1900-1930s do not seem to have been overcome. In a reinterpretation of the fundamentals of Sergei Eisenstein’s montage, we investigate how the opening sequence of the audiovisual “The Trial of the Chicago 7” (2020, Sorkin, BEL) uses scene relationship techniques to determine the notion of time, rhythm, spatiality, and graphics movements. Scenes from the news are shown between fictional takes, it is believed, in order to erect a historical panorama of the feeling of rejection of sending soldiers to Vietnamese territory. Here, we study how editing resources are used in the development of communication strategies in order to instigate the reflection and engagement of different social-cultural audiences in the face of the established conflict. [ABSTRACT FROM AUTHOR]