Sometimes watching a movie is like seeing someone’s dreams, a hypnotic experience where we get to witness the obsessions and fantasies of an artist.
At other times, watching a movie can be like listening to someone describe their dreams, which can be dreary and patience testing. Mascha Schilinski’s “Sound of Falling” begins like the former but ultimately feels like the latter.
This highly stylized German drama, an acclaimed favorite on the film festival circuit and a probable Oscar contender, has garnered a following. Initial enthusiasm for Schilinski’s vision waned as the film progressed, eventually leaving a desire for it to simply end.
A Generational Saga, Lost in Time
“Sound of Falling” presents a family’s story across generations, beginning with life in a home a century ago. The narrative then jumps to World War II, the 1980s, and more contemporary times, often returning to focus on the original property and the intimate, sometimes unflattering, moments within it.
The film’s pace, tone, and visuals draw comparisons to the darker, more contemplative works of Ingmar Bergman. Yet, in a more mainstream comparison, “Sound of Falling” attempts to achieve what Robert Zemeckis’ “Here” (2024) set out to do: to present the camera as an observing eye, witnessing different generations inhabit a single space over extended periods.
Schilinski’s eerie film feels like a blend of Ingmar Bergman’s “Fanny and Alexander” (1982) with the unsettling detours found in the work of David Lynch or Lynne Ramsay. The first act, in particular, evokes Lynch’s “Eraserhead” (1977)—a compliment to Schilinski’s initial captivating vision.
Voyeurism and Disquieting Foreshadowing
In several scenes, characters gaze directly into the camera, creating a truly unsettling feeling of being observed. The editing frequently jumps into the near future, revealing a character’s death before cutting back to the present moment. This continues as the story shifts to more recent times, maintaining a voyeuristic atmosphere. Moments range from seemingly random to intensely focused and relatable.
Like the best of Lynch’s films, “Sound of Falling” oscillates between resembling a gorgeous painting and a dread-inducing waking nightmare.
After an hour, “Sound of Falling” becomes uncomfortably intimate and difficult to endure, testing the viewer’s investment. While artistry remains evident, the film’s intensity becomes overwhelming.
At 155 minutes, the relentless cycle of discomfiting imagery proved exhausting. The film is undeniably artistic and will linger in the mind, but whether viewers will want to subject themselves to such a taxing experience is a personal decision. The frequent comparisons to David Lynch highlighted both a longing for his work and a recognition of the heart and humanity that even his darkest films possess.
“Sound of Falling” would have benefited from a greater emphasis on lost innocence, akin to Lynch’s style, rather than feeling like invisible, unholy surveillance footage. Schilinski is a talented filmmaker, and anticipation builds for her future projects, though a repeat viewing of “Sound of Falling” is unlikely.
Two Stars (out of four)
