Agitação

Ne of the funniest movies of the year is an anarchist 19th-century movie about watchmakers. The simple nature of filmmaking, but so wonderfully awkward and creative, almost every shot in this is locked down and far away, less about the performances, and more about the world it inhabits, and how the idea of time, and how much of a construct the idea of it is in the first place. How life ties us down by forcing us to contain ourselves to a strict guideline of time and work, and how when everything seems ridiculous and pointless the only necessary option is to rebel and leave. It is very slow, and there isn't really any music, but the tone, cinematography, and the structure of certain scenes is purposefully slow to go with the idea of time. Is a scene "wasting" time, or is it allowing the natural flow of a scene's structure to go together perfectly? For something so simple and unseen, this is such a bizarrely beautiful and thoughtful film. A film that can easily be thought of as pretentious, but like godard all that pretension is just hogwash, and where the film's objectives rely on is in the screwball aspect of societal structure and capitalist expectations. Great stuff.

Josephine is a wise and forward-thinking watch maker in a factory from 150 years ago. She fixes the spring mechanisms in watches that ensure movement and balance. Combining forces with a traveling anarchist from Russia, the pair attempts to alter the way that the town and its industries measure time.

Complicated like a watch and cerebral, Unrest unwinds slowly like the viewing of a masterful work of art. Ambient sounds of women singing, machinery, flowing water, summer insects, wind, and birdsong, combine with playful and beguiling camera work that, like the cinematography of Wong Kar-wai, often places the actors outside the focus of the frames.

After a late night of watching a midnight madness film at the Toronto International Film Festival and wandering through the city at night, I was not in the mood for this morning mindbender, so I need to watch it again in a better frame of mind, to fully appreciate its wonders.

It's a tranquil tale about anarchism's historic existence. A portrayal how lush green of unspoiled nature and the silence of this rural Swiss community still being unable to diminish the sparks of revolutionary thought. The unjust dismissals , the collectivenes of society and solidarity that leaves room for debating thoughts pictures the possibility of an alternative schools of thought in the world even in a period of technical disadvantages. Great visuals brings meaningful value to every scene. Excellent dialogues and performances by the whole cast. It's a story that requires lot of patience but it's historic importance makes it worthy to watch.

Much like the clockwork timepieces over which its protagonist hunches in exacting scrutiny, this piquant tale of socialist activism is a jewel of precision engineering. A Berlinale prizewinner from Swiss rising star Cyril Schäublin, Unrest is as fastidiously conceived as it is stylistically playful. It follows the story of Josephine, a young factory worker who produces the unrest wheel, swinging in the heart of the mechanical watch. Exposed to new ways of organizing money, time, and labor, she gets involved with the local anarchist movement pace like a needle in a time machine. So, we can touch on the forwarding of a revolution that changes history. Beautiful movie.

A superb historical film told in a modern way, reducing all the dramatics to a minimum. With my limited knowledge of English I would not do justice to this great work, and I recommend Jordan Mintzer's review, published by The Hollywood Reporter.

I can only add that besides all the truth Mintzer writes about this political, economic and highly aesthetical work, and the detailed direction by Cyril Schäublin to show the process of creating watches and the eventual evolution of an anarchist organization in a little town controlled by entrepreneurs and their acolytes, what kept me in awe all the running time was Silvan Hillmann's cinematography.

The framing and composition suggest oppression in speech and actions, even when they take place outdoors. The fixed camera allows the viewers to watch simultaneous situations from a distance, and to let us make our own dramatic deductions.

There are few close-ups to manipulate our gaze. Hardly a camera movement... perhaps the most evident move appears in the closing shot, when a watch hangs from a tree. You must watch it. It is an excellent cinematographic treatise.