Disquiet is a searing essay film by British artist and activist Lis Rhodes, continuing her decades-long engagement with the politics of sound, language, and resistance. Structured as a sonic and visual warning system, the film draws on archival material, protest footage, and Rhodes’s own writing to trace a global history of militarism, surveillance, and corporate extraction. The atomic bomb, nuclear testing, drone warfare, and the privatization of public space all come into view, not as discrete events but as recurring patterns in an expanding landscape of control.

The film unfolds in layered fragments: intertitles, still images, whispered texts, and abrupt shifts in rhythm create a sense of tension and interruption. Rhodes’s distinctive voice, both calm and urgent, carries the work forward, interrogating the silences surrounding systems of domination. Disquiet refuses easy comprehension. Instead, it demands active listening, positioning the viewer not as a passive recipient but as a potential responder. In a time of information overload and fading political memory, the film insists on the continued necessity of alertness, protest, and the refusal to forget.