Sound of Falling (2025)
- General info
- Available formats
- Synopsis:
- The film follows four girls - Alma (Hanna Heckt), Erika (Lea Drinda), Angelika (Lena Urzendowsky), and Lenka (Laeni Geiseler) - from different historical periods (shortly before World War I, at the end of World War II, in East Germany during the 1980s, and during the early 21st century, respectively) whose lives are subtly interconnected. Each spends their youth on the same four-sided farmstead in the Altmark region. Some of the children are subjected to sexual assault, abuse, and incest. As they move through their respective presents, traces of the past gradually emerge.
- Actors:
- Hanna Heckt, Lena Urzendowsky, Susanne Wuest, Luise Heyer, Laeni Geiseler, Lea Drinda, Florian Geißelmann, Gode Benedix, Bärbel Schwarz, Lucas Prisor, Konstantin Lindhorst, Martin Rother, Filip Schnack, Ninel Geiger, Greta Krämer, Luzia Oppermann, Zoë Baier, Anastasia Cherepakha, Liane Düsterhöft, Helena Lüer
- Directors:
- Mascha Schilinski
- Producers:
- Burkhard Althoff, Melvina Kotios, Lasse Scharpen, Lucas Schmidt, Maren Schmitt
- Writers:
- Louise Peter, Mascha Schilinski
- Aka:
- The Doctor Says I'll Be Alright, But I'm Feelin' Blue / In die Sonne schauen
- Genres:
- Action & Adventure, Drama
- Countries:
- Germany
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Reviews (1) of Sound of Falling
Generations of Guilt and a Very Haunted Farmhouse - Sound of Falling review by griggs
This felt like someone had taken a haunted farmhouse, a family curse, a history textbook and a fever dream, then chucked them in a blender and somehow made it work. Sound of Falling jumps across four time periods in the same German farmstead, with trauma, guilt and repression seeping through the walls like damp. It’s one of those films where every image feels loaded, even when you’re not fully sure what it’s loading.
What really got me was the atmosphere. The drifting camera, the groaning soundtrack, the sense that something awful happened here and never really stopped happening. It reminded me a bit of Mark Jenkin, not visually in a direct way, but in how it feels handmade, eerie and tuned into memory, place and unease. Some of it is opaque, fair warning, but I found it properly unnerving rather than just wilfully obscure.
When it finished, the man behind me leaned over and said, “Well that was weird.” Fair enough, really.