Sound of Falling (2025)

Howells calls the film a startling, hauntingly beautiful work and a singular coming-of-age tale. He especially praises its breathtaking imagery and the uncanny details that linger in the memory.

The review calls the film stunning, praising its heady blend of superstition and folklore. It singles out the way transgenerational trauma and repressed sexuality flow through the story.

The critic calls the film brilliant, horrifying and breathtaking, despite its difficult subject matter. They praise its exquisitely controlled, fragmented form for making patriarchal violence across generations feel like a relentless cycle.

Willmore calls the film astonishing and says it sets a high bar for the Cannes competition. She praises its impressionistic, intimate approach to four generations of women and their often-unrecorded experiences.

Ehrlich praises the film as a mesmerizing, emotionally rich portrait of recurring girlhood pain across generations. He singles out its haunting use of sense memory and its prismatic, time-folding style.

The critic calls the film an astonishing, elusive marvel that transforms its viewer. He praises its spectral cinematography and deftly interwoven portraits of women across generations.

The critic calls the film a striking, thrillingly ambitious work and says it announces Schilinski as a director of note. She especially praises the assured direction, visual beauty and soundscape that binds the generations’ stories.

Rife finds the film transcendentally beautiful, though its slow, rigorous approach may test some viewers’ patience. She praises the exquisite visual style and haunting sound design for creating its dreamy, unnerving atmosphere.

Chang praises the film as disorienting, enveloping, and brilliantly crafted. He singles out Schilinski’s shifting camera and time structure for making the story’s generational traumas feel newly vivid.

The critic calls the film an astonishing, ambitious achievement that marks a major step forward for Mascha Schilinski. They praise its intricate intergenerational storytelling and its carefully crafted visual and sonic atmosphere.

The review finds the film haunting and poetic, portraying the past as an onerous weight on the present. It praises Lena Urzendowsky’s complex portrayal of Angelika and the film’s visual and audio motifs linking generations.

Mintzer calls the film a transfixing, audacious work that rewards patient viewers, though its fragmented structure may frustrate those seeking a clear plotline. He praises Schilinski’s visual connections across generations and her portrait of young women carrying their forebears’ histories.

Strong finds the film ambitious, compelling and willing to trust its audience despite its deliberate opacity. She particularly praises its atmospheric cinematography and the way it evokes the women’s shared histories.

Bradshaw finds the film powerfully unsettling, dense with fear and sadness. He singles out its clammy atmosphere, created through drifting camerawork and a throbbing, disquieting soundtrack.

Brooks praises the film as elegant, studied and pitiless. He singles out its folding of a century of family history to illuminate women’s lives on a harsh German farm.

The dispatch presents the film positively as a bracing treatment of a recurring image. It singles out its literalist approach to the self-drowned woman, discussed alongside The Currents.

The critic calls the film an exhilarating, all-time-great achievement, though it can be frustrating and challenging. He praises its hypnotic atmosphere, restless camerawork, and distinctive sound design.

The critic praises the film as a powerful, inventive portrait of women’s lives and memories across generations. She especially singles out its haunting imagery of eels and the way the farmhouse’s spaces carry echoes of past suffering.

The review finds the film an intricate and oppressive exploration of generational trauma. It praises the child’s point of view and the way the film’s interwoven timelines reveal hidden truths.

The article appears to be a review, but its text is unavailable, so the critic's verdict cannot be established. No specific praise or complaint can be reliably identified.

Kiely finds the film excessively grim and argues that it reduces its characters to trauma without developing a meaningful message. She praises Schilinski’s sensory direction, especially the sound design and shifts in perspective.

The critic finds the film intriguing but overburdened by its complexity and fatalistic tone. They praise its visual flourishes, including match-cuts, visual echoes and bravura long takes.