蜜桃导航

鈥淐yril Sch盲ublin鈥檚 utterly singular Unrest, a movie that is defiantly uncategorizable, unless you have a category earmarked 鈥榩layful, otherworldly tales of watchmaking and anarchism in 1870s Switzerland.鈥� 鈥� (New York Times)

鈥淎 film of immense delicacy and precision, Cyril Sch盲ublin鈥檚 complexly woven timepiece is set in the hushed environs of the Swiss watchmaking town of Saint-Imier in the 1870s. In this unlikely place, a youthful Pyotr Kropotkin, who would become a noted anarchist and socialist philosopher, experiences a quiet revolution, finding himself inspired by the buzzing activity of the town鈥檚 denizens, from the photographers and cartographers surveying its people and land to the growing anarchist collective at the local watermill raising funds for strikes abroad, to the organizing workers at the watch factory, whose craft is depicted with exacting detail and devotion. Sch盲ublin鈥檚 abstracted, geometric visual approach reinforces the singularly contemplative nature of his project: this is a film about time鈥攊ts tyranny as well as its comforts鈥攁nd how it relates to work, leisure, and the larger processes that shape history.鈥� (New York Film Festival)

鈥淭he burgeoning hints of romance between Pyotr and Josephine play out alongside the rumblings of various political movements; the cartographic endeavour to render legible the Swiss valley; the fluid movement between French, Russian, and Swiss-German languages; and the incongruities between and radical implications of various measurements of time 鈥� factory time, municipal time, telegraph time, and railway time. A 19th-century narrative told with a highly contemporary style and rigour, Unrest is thematically relevant to a world overtaken by capitalist aims, and in which the working class are increasingly stripped of both time and agency; where, indeed, money and debts are both philosophical and literal fabrications. Through immersion into an era where such instruments of control and their dominance were less absolute, Sch盲ublin has produced a film set in the past with an eye towards the future, positing the potential for new means of solidarity and refusal.鈥� (Toronto International Film Festival)