---
title: "The History of Sound"
year: 2025
kind: "film"
canonical: "https://film.one/film/the-history-of-sound"
fi1m_id: "the-history-of-sound"
imdb_id: "tt15799524"
tmdb_id: 891584
wikidata_id: "Q118765520"
fi1m_score: 62
critics_score: 54
critics_reviews: 26
published: "2026-09-24T03:34:42.021036+00:00"
updated: "2026-09-24T03:34:42.566743+00:00"
region: "HK"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# The History of Sound (2025)

Directed by Oliver Hermanus · 2h 08m · Drama, Romance, Music

## Identity

The History of Sound

- **Canonical:** https://film.one/film/the-history-of-sound
- **Type:** Film
- **Fi1m ID:** the-history-of-sound
- **IMDb ID:** tt15799524
- **TMDB ID:** 891584
- **Wikidata ID:** Q118765520
- **Same entity:** https://www.imdb.com/title/tt15799524/, https://www.themoviedb.org/movie/891584, https://www.wikidata.org/wiki/Q118765520

**Fi1m score: 62** · Critics 54 from 26 reviews

*In a sentence:* The folk singers sound ready to tell us everything; the lovers could take a lesson

> Paul Mescal and Josh O’Connor make the song-collecting scenes worth hearing and watching. Oliver Hermanus’s romance is less persuasive: carefully made, sometimes moving, and too restrained to sustain its length.

## Synopsis

Lionel Worthing (Paul Mescal) and David White (Josh O’Connor) travel into isolated backwoods communities to collect folk songs. They want to preserve the singers’ voices, and recording the music gives them a reason to work and listen together. Their shared task becomes bound up with a clandestine romance, with private feelings developing alongside their interest in the songs. The encounters with singers place other people’s stories around their own, as they build a collection of voices and a relationship they keep to themselves. Hadley Robinson plays Belle Sinclair.

## Review

*The History of Sound* is worth considering for its performances and folk songs, though the romance is too cautious to be consistently involving. Oliver Hermanus treats the relationship between Lionel Worthing (Paul Mescal) and David White (Josh O’Connor) with a patience that sometimes becomes frustrating. Ben Shattuck’s screenplay gives them worthwhile work to share: recording folk songs in isolated backwoods communities. The film is most convincing when it lets that work occupy their attention, without asking their subdued manner to carry every feeling.

Paul Mescal makes Lionel Worthing’s loneliness affecting without turning it into an exhibition. His stillness has weight, although the film asks us to interpret it for longer than it should. Josh O’Connor brings more animation to David White, and the difference matters: we can sense someone the other man might want to spend time with. Their company is appealing enough to keep us interested, even when the direction makes the attraction feel unnecessarily remote.

We were moved by the scenes of the two men recording folk songs together. Listening gives them something to do besides silently convey longing, and the encounters with singers allow other lives into a film that can feel sealed off. Oliver Coates’s score holds the melancholy steady, but it is less persuasive than the human voices. When the score gives way to singing, the film briefly stops telling us how sad to feel.

Alexander Dynan’s cinematography gives the period settings a composed, pictorial finish, though the consistency gradually becomes a limitation. The images do little to distinguish the excitement of discovery from the ache of remembering. Deborah Jensen’s production design helps the backwoods song-collecting passages feel removed from ordinary bustle, but the careful presentation can make these encounters look too neatly arranged. There is skill here; we wanted a little more room for the untidiness of people making music.

The larger difficulty is duration. At 128 minutes, the film spends too long sustaining a mood it has already established, and Chris Wyatt’s editing does not give the middle section enough momentum. Quiet passages can be absorbing when each one changes our understanding of the people involved; here they begin to feel like further demonstrations of the same sadness. The later stretches contain feeling, but they cannot quite repay the patience asked for along the way.

There is nothing inherently bloodless about a restrained period romance, and a clandestine relationship need not announce itself to be understood. What this one lacks is enough sense of discovery between the lovers to make their attachment fully convincing. Hadley Robinson brings a welcome precision to Belle Sinclair, suggesting how much can be communicated without raising the emotional volume. Oliver Hermanus needs more variation in the scenes between his leads.

The songs remain a substantial reason to give it an evening, especially for anyone interested in how people share and preserve music. There is enough tenderness in the performances to make the film’s caution frustrating, because the actors seem capable of giving more. We would recommend it chiefly for the music, with fair warning about the slow middle. Anyone coming for a consuming love affair will need more than the film is willing to give.

*Fi1m score 62, published 24 September 2026.*

## What the critics say

The reviews are sharply divided on The History of Sound, with negative verdicts narrowly outnumbering positive ones. Praise clusters around Paul Mescal and Josh O’Connor’s performances and the folk-song recording scenes, which several critics find more intimate and affecting than the surrounding romance. Even some sceptical reviews respond to the singing, while admirers find the patient pace and melancholy atmosphere essential to the film’s emotional pull.

The central disagreement is over restraint: for supporters it makes the love story moving; for detractors it leaves the relationship cautious and unconvincing. Complaints about pacing recur even in favourable reviews, particularly around the middle and second half. The spread is wide: Deadline finds a haunting romance sustained by both leads and the music, whereas Variety finds little convincing feeling, praising O’Connor but faulting Mescal’s stillness. The Guardian also disputes one of the more common points of praise, finding the songs emotionally remote.

## Straight answers

**Is The History of Sound worth watching?**

*The History of Sound* is worth considering chiefly for its folk music and performances, and we score it 62/100. Paul Mescal and Josh O’Connor make the song-collecting scenes moving, but the cautious romance and slow middle stretch its 128 minutes; we recommend it to those interested in preserving music rather than anyone seeking a consuming love affair.

**How long is The History of Sound, and what is it rated?**

*The History of Sound* runs 2h 08m. It is a drama and romance film.

**Where can I watch The History of Sound in Hong Kong?**

*The History of Sound* is not on any streaming or rental service in Hong Kong at the moment. It is available in 34 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is The History of Sound, and is it suitable for children?**

*The History of Sound* carries a UK 15 certificate, so it is not suitable for children under 15. That classification alone does not tell us how violent or frightening particular scenes are; we would recommend this slow, melancholy romance chiefly to older teenagers and adults with an interest in folk music.

**How does The History of Sound compare to Cold War?**

*The History of Sound* is the less persuasive romance beside [*Cold War*](https://film.one/film/cold-war), which we recommend for its compact storytelling, performances and music. Both connect folk music with a difficult relationship, but *Cold War* allows its lovers more room to quarrel, while *The History of Sound* is strongest when its leads collect songs together. The reservation with *Cold War* is that gaps between scenes sometimes obscure the lovers’ feelings.

**What should I watch after The History of Sound?**

After *The History of Sound*, try [*Cold War*](https://film.one/film/cold-war) (2018, Fi1m 85): Folk music and a difficult romance, with rather more willingness to quarrel. Then [*Happy Together*](https://film.one/film/happy-together) (1997, Fi1m 86): Another troubled love between men, played with far less emotional caution; and [*Weekend*](https://film.one/film/weekend) (2011, Fi1m 86): Two men talk their way towards an intimacy that feels earned.

### Reviews we read (26)

- **IndieWire**, Ryan Lattanzio (B): Lattanzio finds the romance affecting and haunting, though its second half loses some emotional assurance. He praises Mescal’s understated performance and the film’s evocative music and patient atmosphere. [Read](https://www.indiewire.com/criticism/movies/the-history-of-sound-review-paul-mescal-josh-o-connor-1235125377/)
- **Empire**, Laura Venning (75/100, inferred): Venning finds the film profoundly affecting despite its muted pace and old-fashioned approach. She singles out the performances, especially Chris Cooper’s moving turn, and the songs’ power to preserve stories. [Read](https://www.empireonline.com/movies/reviews/the-history-of-sound/)
- **The Hollywood Reporter**, David Rooney (75/100, inferred): Rooney finds the film restrained and sometimes meandering, but ultimately a moving, melancholic romance. He especially praises Mescal and O’Connor’s performances and the folk music, which give the story its emotional force. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/the-history-of-sound-review-paul-mescal-josh-oconnor-1236224303/)
- **Screen Daily**, Lee Marshall (71/100, inferred): Marshall describes the film as an intense, restrained period drama. The headline singles out the clandestine romance between its two leads. [Read](https://www.screendaily.com/reviews/the-history-of-sound-review-josh-oconnor-and-paul-mescal-are-clandestine-lovers-in-us-set-period-drama/5205380.article)
- **Radio Times**, James Mottram (70/100, inferred): The review presents the film as a tender, decade-spanning love story likely to deepen its stars’ fanbases. It praises Oliver Hermanus’s telling as exquisite. [Read](https://www.radiotimes.com/movies/the-history-of-sound-review/)
- **Little White Lies**, Hannah Strong (65/100, inferred): Strong finds the film a unique, moving romance, though its restraint and sagging pace may frustrate some viewers. She particularly praises Josh O’Connor’s performance and the soulful folk soundtrack. [Read](https://lwlies.com/festivals/the-history-of-sound-first-look-review)
- **RogerEbert.com** (64/100, inferred): The page does not expose the critic’s verdict. No praise or complaint is available to identify. [Read](https://www.rogerebert.com/reviews/the-history-of-sound-josh-oconnor-paul-mescal-film-review-2025)
- **The New York Times** (64/100, inferred): The URL identifies the page as a review of the specified film, but the article’s verdict is unavailable. The blocked page provides no specific praise or complaint to report. [Read](https://www.nytimes.com/2025/09/11/movies/the-history-of-sound-review.html)
- **Slant Magazine**, Marshall Shaffer (2.5/4): Shaffer finds the film most affecting when it evokes music’s ability to make the present feel suspended. He praises the soulful intimacy of Lionel and David recording folk music together, while noting that the second half loses vitality without David. [Read](https://www.slantmagazine.com/film/the-history-of-sound-review-paul-mescal-josh-oconnor/)
- **Time Out**, Phil de Semlyen (3/5): The review presents the film as a slow, wistful romance rather than an unabashed triumph. It singles out the leads’ torch song to lost love as the film’s defining quality. [Read](https://www.timeout.com/movies/the-history-of-sound-review-2025)
- **Evening Standard**, Jo-Ann Titmarsh (2/5): The critic finds the film monotonous and its story trite, despite the appealing leads. She praises Mescal and O’Connor’s performances and says the songs bring the film to life when the score gives way to voices. [Read](https://www.standard.co.uk/culture/film/the-history-of-sound-movie-review-b1267717.html)
- **The New Yorker**, Justin Chang (40/100, inferred): Chang finds the film beautiful but emotionally muted, with its central romance lacking sensual discovery and the filmmaking eventually slipping into inertia. He praises the folk-song recording scenes for their musical power and intimate encounters. [Read](https://www.newyorker.com/culture/the-current-cinema/the-muted-melancholy-synesthetics-of-the-history-of-sound)
- **Sight and Sound**, BFI (35/100, inferred): The critic finds the film sensitive and handsomely made but excessively decorous, lacking emotional intensity. Hadley Robinson’s nuanced, controlled performance is singled out as the film’s most striking element. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/history-sound-desire-more-studied-than-felt-this-timid-romantic-drama)
- **Los Angeles Times**, Robert Abele (30/100, inferred): Abele finds the romance overly cautious and emotionally muted, despite an eventually moving final act. He praises Paul Mescal’s affecting portrayal of sorrow-wracked loneliness. [Read](https://www.latimes.com/entertainment-arts/movies/story/2025-09-12/the-history-of-sound-review-josh-o-connor-paul-mescal-chris-cooper-oliver-hermanus)
- **The AV Club**, Jason Gorber (30/100, inferred): Gorber finds the film disappointing, calling its queer romance repetitive and its music emotionally inert. He praises the premise of collecting songs in isolated backwoods settings, but says the story handles it too obviously and by rote. [Read](https://www.avclub.com/the-history-of-sound-review)
- **Vulture**, Alison Willmore (30/100, inferred): Willmore finds the film too restrained to make its romance emotionally compelling. She praises the opening scenes and the unexpected closing sequence as the moments the film fully inhabits. [Read](https://www.vulture.com/article/a-history-of-sound-paul-mescal-josh-oconnor-movie-review.html)
- **The Guardian**, Peter Bradshaw (25/100, inferred): Bradshaw finds the film tasteful and laborious, unable to bring its love story to life. He faults the folk songs and romance for feeling preserved under glass rather than emotionally immediate. [Read](https://www.theguardian.com/film/2025/may/21/the-history-of-sound-review-paul-mescal-josh-oconnor-cannes)
- **Variety**, Owen Gleiberman (10/100, inferred): Gleiberman finds the romance listless and spiritually inexpressive, and says it fails to make its tragedy emotionally convincing. He praises Josh O’Connor’s vivid performance, while criticizing Paul Mescal’s stillness and the film’s overly pictorial style. [Read](https://variety.com/2025/film/reviews/the-history-of-sound-review-paul-mescal-josh-oconnor-1236405552/)
- **Deadline**, Pete Hammond (95/100, inferred): Hammond calls it a quietly masterful, haunting love story that stays with the viewer. He especially praises the performances by Paul Mescal and Josh O’Connor and the film’s beautifully arranged folk music. [Read](https://deadline.com/2025/05/the-history-of-sound-review-paul-mescal-josh-oconnor-1236407195/)
- **NME** (90/100, inferred): The critic calls the film essential viewing and finds its story of thwarted love deeply moving. They single out the performances, exquisite roots music, and evocative cinematography for praise. [Read](https://www.nme.com/reviews/film-reviews/the-history-of-sound-review-paul-mescal-josh-o-connor-3863773)
- **Collider**, Therese Lacson (8/10): Lacson finds the film moving and heartbreaking, though its middle section loses momentum. She especially praises the folk songs and ballads as the story’s emotional anchor. [Read](https://collider.com/the-history-of-sound-review-paul-mescal-josh-oconnor/)
- **The Playlist** (75/100, inferred): The headline suggests the film is affecting, though the review text was inaccessible. It singles out Paul Mescal and Josh O’Connor’s performances as heartbreaking. [Read](https://theplaylist.net/the-history-of-sound-review-paul-mescal-and-josh-oconnor-are-heartbreaking-enough-cannes-20250521/)
- **The Skinny**, Josh Slater-Williams (★★★): The review finds the film too muted in its direction and pacing, though its verdict improves with an effective epilogue. It singles out Chris Cooper’s appearance for adding passion and crucial context to the story. [Read](https://www.theskinny.co.uk/film/new-releases/the-history-of-sound)
- **HeyUGuys** (35/100, inferred): The critic finds the film exquisitely crafted but emotionally muted, leaving it more admired than loved. They praise its lush cinematography and sound, while faulting its restraint for keeping the central romance from igniting. [Read](https://www.heyuguys.com/the-history-of-sound-review-lff-2025/)
- **The Wrap** (35/100, inferred): The critic finds the romance muted and unsatisfying. They fault the film’s uniform visual style for failing to convey the protagonist’s sensory experience. [Read](https://www.thewrap.com/history-of-sound-review-paul-mescal-josh-oconnor/)
- **Eye for Film**, Marko Stojiljkovic (30/100, inferred): The critic finds the film safe and mediocre, with its passion concentrated in the first half. The folk music is lively, but the romance never properly works. [Read](https://www.eyeforfilm.co.uk/review/the-history-of-sound-2025-film-review-by-marko-stojiljkovic)

## Details

- **Director:** Oliver Hermanus
- **Director:** Oliver Hermanus
- **Screenplay:** Ben Shattuck
- **Cinematography:** Alexander Dynan
- **Editor:** Chris Wyatt
- **Music:** Oliver Coates
- **Production design:** Deborah Jensen
- **Costume design:** Miyako Bellizzi
- **Producer:** Lisa Ciuffetti, Andrew Kortschak, Andrea Roa
- **Cast:** Paul Mescal as Lionel Worthing; Josh O'Connor as David White; Chris Cooper as Older Lionel; Molly Price as Lionel's Mother; Raphael Sbarge as Lionel's Father; Hadley Robinson as Belle Sinclair; Michael Schantz as Bob Sinclair; Peter Mark Kendall as Nathan McCloud
- **Runtime:** 2h 08m
- **Release (Hong Kong):** 6 March 2026
- **Genres:** Drama, Romance, Music
- **Budget:** $2 million
- **Box office:** $3 million
- **Trailer:** https://www.youtube.com/watch?v=E2PSkw8BI7k

## Where to watch in Hong Kong

Not streaming, renting or buying in Hong Kong at the last check.

Also available in: AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, ES, FI, FR, GB, GR, HR, HU, IE, IN, LT, MX, NL, NO, NZ, PL, PT, RO, RS, SE, SI, SK, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *Cold War* (2018), Fi1m 85: Folk music and a difficult romance, with rather more willingness to quarrel. — [Fi1m page](https://film.one/film/cold-war.md)
- *A Month in the Country* (1987): Two men at work, with wartime memories neither can put aside.
- *Happy Together* (1997), Fi1m 86: Another troubled love between men, played with far less emotional caution. — [Fi1m page](https://film.one/film/happy-together.md)
- *The Music Room* (1958): Music preserves a way of life its host cannot afford to lose.
- *Weekend* (2011), Fi1m 86: Two men talk their way towards an intimacy that feels earned. — [Fi1m page](https://film.one/film/weekend.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-history-of-sound