A funeral and formally radical fresco
We didn’t know much Fall sound Before his screening in the official competition, if not two intriguing images revealed upstream of the Festival. And it is an euphemism to say that they were faithful to the experience: the film of the German Mascha Schilinski stands out as one of the most confused and fascinating objects of this edition of 2025.
Built in four movements, each focused on a woman or girl who lives in a different time on the same isolated farm, Fall sound Intertwine an invisible thread among his heroines. If the decades pass, the walls maintain traces. Male violence, imposed silences, unspeakable tragedies: everything seems to have settled there, in this rural and ghostly closed door.
But more than an extended family drama, the film strikes above all for its form. Schilinski’s staging is an almost surgical penalty, sculpting with slow travel, inhabited shot and mirrors that disturb the reference points of the time. The work on sound, while breathing and deaf tensions participates in this feeling of permanent spell. On the screen, the characters evolve as souls trapped between two worlds.
Transported by a distribution in harmony and an artistic direction both Gothic and refined, Fall sound Never try to please or explain. He nails, stands out, asks to be transported, at the risk of getting lost.
Among the dead and the living, the invisible thread
Is in Fall sound An immediate, palpable, almost clinical darkness. But it is another emotion that arises first: that of the float. More than a film about trauma, however numerous and powerful, is a film on the border. The one that separates the living from the dead, the solid bodies of the fragile bodies, the souls anchored by those who falter.
On several occasions, the characters seem attracted to the void. Towards what you don’t see, but you feel. This sensation of falling – literal or metaphorical (“fall”) – persecuted history. And it is not just a metaphor: it is also embodied in the firmer images of the film, these post -DEAD photographs that families have taken with their death and frozen in an immobility of another time. As a last connection, proof of the passage, a desperate attempt to keep alive what is no longer.
The sound also plays a central role. Fall sound It is not a simple poetic title: it is a promise of dizziness. Grets, Def Rumbles, Falls of Falls – for false or for good – eras and scenes. They connect the characters as an invisible thread, anchor the memory in the viewer’s body. It is an organic soundtrack, almost premonitory, which seems to announce the oscillations even before they occur.
Some figures, anchored in reality, advance with the will to live. Others, on the contrary, already seem a little absent, as if something pulls them towards the darkness. They are the ones who mark the most. Those for whom the question is no longer like living, but should you jump to understand what makes you die?
And in this thread stretched between generations, they are really the women who hold or fall. The bodies are as inherited as much as pain. It is not just a matter of genetic or family transmission, but of emotional memory, invisible scars that cross time. The stories seem to take place simultaneously, in a porous space where yesterday’s ghosts respond to the living today. It is an immaterial heritage, long ignored, that Mascha Schilinski materializes here with a disturbing power.
Source: Cine Serie
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