![]() I’ve had really good conversations with people, many different reactions. Ahead of its appearance TIFF ’22, sat down with Schäublin to discuss his mutual aid-influenced style of filmmaking, his affinity for a liberated audience experience, and the influence of the women in his family on the stories he chooses to tell.īeyond its success at film festivals, what has the reception to “Unrest” been like so far? ![]() It comes at a time of global upheaval, reactionary trends, and labor resurgence. “Unrest” is a tale of a struggle between nationalism and anarchism, bosses and workers. When Schäublin applies his open-ended aesthetic to this problem, he threads the needle on providing a more comprehensive picture of the time period than you might find in a history book without moralizing about his ideas. Yet despite this documentarian appearance, “Unrest” is simultaneously conscious of its inherent bias as a historical drama film. The result is almost voyeuristic, ironically giving the impression someone somehow managed to set up video cameras in the Jura mountains 150 years ago for our benefit. Wide shots of anarchists fundraising outside of their place of work or gathering to exchange photos of famous revolutionaries encourage the viewer to find their own way through the frame, with naturalistic dialogue only mildly guiding our eyes toward the ostensible subject of any given scene. In directing "Unrest," Schäublin encouraged his cast of mostly non-actors to avoid any overly theatrical displays. ![]() For Schäublin, this intentionality came as a matter of course. After he weaves influences from theater, philosophy, history, and science into a complex tapestry, he then turns this broad canvas over to the audience to extract their own thoughts and interpretations. But he is rarely didactic with his choices. With "Unrest," he shifts the camera ever so slightly to encompass the experiences of women in industrial spaces. ![]() Schäublin’s approach to filmmaking sheds light on often-ignored subjects. ![]()
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