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‘Sound Of Falling’ Review: Mascha Schilinsky’s Superb Feature Is A Masterclass In Ethereal, Unnerving Brilliance – Cannes Film Festival
‘Sound of Falling’ review: Mascha Schilinsky’s superb feature is a masterclass in ethereal, unnerving brilliance – Cannes Film Festival
One is the loneliest number in Mascha Schilinsky’s superb second feature, a fractured reflection on childhood and family that eschews linear narrative for immersive atmosphere, telling the story of four young girls from different eras whose lives play out, in the words of Harry Nilsson, by making rhymes of yesterday. The one constant in a kaleidoscopic timeline that plays out across a hundred years is a farmhouse in northern Germany, established in the opening scenes — perhaps in the ’30s or ’40s — as home to Erika (Lea Drinda), who amuses herself by binding her left leg and walking on her Uncle Fritz’s crutches. Given the subject matter, death is everywhere — a fair enough reflection of the morbid interior lives of young girls still drawn, like moths, to books like The Bell Jar and films like The Notebook — but what’s real and what’s imagined is left for the viewer to decide (Angelika, especially, devises a devastating end for herself in a cornfield).
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