Cyril Schäublin’s "Unrueh," drawing from Pyotr Kropotkin's "Memoirs of a Revolutionist," proves to be an engaging and accessible work, even with its measured rhythm. The film exhibits remarkable stylistic choices, managing to authentically reproduce the ambiance of 1870s Swiss watchmaking through careful detail. Performances are dependable throughout, and there’s a recurring sense of humor in the continual adjustments made to the factory clock—a fitting symbol for laborers attempting to regain command over their schedules from industrial capitalism. The film's deliberate pacing reflects the mechanical environment it portrays, and its historical presentation is faultless. Schäublin demonstrates an understanding of the visual style of that era and utilizes it with skill. Despite these strengths, there are two considerable weaknesses that detract from the movie’s overall impact. Initially, the connection between some watchmakers and the commune-anarchist group isn't entirely clear. While the factory workers’ allegiances are obvious, the watchmakers remain unclear, which leads to uncertainty about their political positions. Furthermore, and more significantly, the film abruptly ends. "Unrueh" is meant to depict Kropotkin’s journey toward anarchism, but his personal growth and development are entirely absent. The result is a visually striking creation that doesn't fully realize its revolutionary potential. It's ironic that a movie centered on precision suffers from a lack of narrative clarity in delivering its message.

Source on TMDB