Sound of Falling – first-look review | Little White Lies

Festivals

Sound of Falling – first-look review

15 May 2025

Words by Hannah Strong

A woman in a brown robe sits at a dresser in a vintage-style room, with framed portraits on the wall behind her.
A woman in a brown robe sits at a dresser in a vintage-style room, with framed portraits on the wall behind her.
Mascha Schilin­ski’s beguil­ing dra­ma fol­lows four gen­er­a­tions liv­ing in the same rur­al Ger­man farm­house and the cycli­cal nature of their trauma.

The old adage His­to­ry doesn’t repeat itself, but it does rhyme’ lies at the heart of Mascha Schilinski’s Sound of Falling, in which four gen­er­a­tions of life play out with­in the con­fines of a rur­al farm­house in north Ger­many. Over the course of a cen­tu­ry Schilin­s­ki flick­ers between the lives of Alma (Han­na Heckt), Eri­ka (Lea Drin­da), Ange­li­ka (Lena Urzen­dowsky) and Lenka (Laeni Geisel­er), chart­ing their young lives at the turn of the cen­tu­ry, the midst of the Sec­ond World War, the Ger­man Demo­c­ra­t­ic Repub­lic dur­ing the 1980s and the present coun­try respec­tive­ly. Between child­hood games and the first blush of roman­tic feel­ing, polit­i­cal upheaval creeps in, as well as the recur­ring weight of gen­dered sex­u­al­i­sa­tion and the aim­less­ness of grow­ing up with­out cer­tain ambition.

Fabi­an Gamper’s cin­e­matog­ra­phy pro­vides some atmos­pher­ic grav­i­tas, drift­ing and dream­like – com­par­isons to Sofia Coppola’s The Vir­gin Sui­cides or Peter Weir’s Pic­nic at Hang­ing Rock are extreme­ly tempt­ing, but not quite on the mark, as Schilin­s­ki and co-writer Louise Peter aim for some­thing stranger and somat­ic, hon­ing in on the ten­sions that begin to blos­som as a lit­tle girl becomes a young woman, and vague impres­sions and under­stand­ings become clear­er and more fixed. The gauzy qual­i­ties of Gamper’s work also com­ple­ment the film’s opaque­ness, with­hold­ing even as it lets us peer in through the farm­house win­dows and observe the quar­tet of women’s pri­vate moments.

This wil­ful obfus­ca­tion may frus­trate some view­ers – Schilin­s­ki seems entire­ly dis­in­ter­est­ed in mak­ing Sound of Falling easy to decode – but per­haps its mys­ter­ies and half-truths reflect the real­i­ty of our lives in rela­tion to those that were lived on the very same land years before. We can nev­er tru­ly under­stand the past, and per­haps nev­er real­ly under­stand each oth­er with total clar­i­ty. Instead kin­ship is a feel­ing that is struck through shared emo­tions and par­al­lel expe­ri­ences. The deep speci­fici­ty of Schilinski’s four pro­tag­o­nists does not pre­vent them from becom­ing avatars for a more uni­ver­sal female expe­ri­ence, and the ques­tion of the his­to­ry that exists with­in the four walls we call home is com­pelling in its familiarity.

Where a film such as Robert Zemeck­is’ Here approach­es a sim­i­lar con­ceit with a trite wash of sen­ti­men­tal­i­ty and a cin­e­mat­ic gim­mick, Sound of Falling opts for ambi­tion and total trust in its audi­ence, even dur­ing moments of know­ing with­hold­ing. It is a com­plex puz­zle box, pow­ered by the sen­so­ry and sen­su­al, and a strong state­ment of intent from a bright spark in the Ger­man film­mak­ing scene.

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