The body holds the score in Mascha Schilinski with highly expected competitive candidates [Cannes]

Cannes – as experimentally as cerebral, by contemplative and fully stormy that is offset by the essential beauty with brutal violence – Mascha Schilinski'S “Noise of the fall”Refuses to hold on to it. Sometimes this trade quality feels like a sign of indecisiveness. Sometimes it seems to be the result of unbridled ambition of a young filmmaker. The Cannes competitive contingender, with hotly expected, is only Schilinski's second feature, with her previous exertion“ ”with her previous exertion“ ”with her exertion“ “” with her previous “” Efforts ”is, with her previous effort“ ”Dark blue girl”(2017) in her last year of the film school. But for most fascinating 149 minutes of“ Sound of Falling ”, the feeling of standing on constant, stubbornly modified soil, like a suitable, moving counterpoint of the crushing silence of the four main actors, are all able to meet the four most important producers in the film and existential expectations and existential expectations Winden.

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7-year-old Alma (Hanna checks) is the youngest daughter of a relatively bourgeois family who lives in a German farmhouse at the beginning of the 20th century. She observes her world-a-one of candelite rooms and golden hay houses, creaking planks and stiff clothing with the broad curiosity of a child that is still untouched by pain. But it does not take long for their days, which are initially shaped by their older sisters to be marked with their older sisters, with references to death. From the observation of disturbing post-mortem photographs to the participation in the staging of some, the young girl is in increasing contact with the coming and walking of the Sensenmann.

Or maybe this impression only illustrates your own, increasingly pathological psyche. Schilinski who wrote the film along Louise PeterReality captures more as a fragmented collection of sensations and memories than as a linear series of facts. An old post-mortem image of a young girl who is a remarkable resemblance to Alma Hat-Ihr First explicit brush with death in the film follows the rest of her history. It hangs over her like a nagging, unspoken thought; When she finally asks her sisters about the girl in the picture, the silence for her words is electrically.

Schilinski lets this disturbing photo and other mysterious details remain unexplained, their female characters, who are forging lives that are dominated by the unspoken. The facts of their existence occur or come in greater focus, mainly through their own whispered voice failures, in thoughts and confessions that the girls apparently cannot appeal to anyone.

If the film flows angry and backwards in good time, it becomes increasingly clear that these women's alle are united at different times on the same farm life-depth depth, loneliness and shame. A teenager in the war destroyed the 1940s, Erika (Lea Drinda) is in a way disobedient how girls were unable to grow as Alma grew up. But her fascination for her amputated uncle Fritz (Martin Rother) is outside the ties in teenage and the first of several troubling cases in the film, in which sex intensifies with pain.

This association initially feels simple and “Sound of Falling” occasionally threatens to relapse into the cynical Arthouse tariff from not too long ago – that trembling provocative cocktails of sex and violence, which luckily are less common today. But in the course of the film, the 20th and 21st centuries roll forward, and the complex psyches of the four unspeakers girls, these increasingly disturbing behaviors will soon react unconsciously and desperately to a continuing patriarchy.

Instead of a mere kink, Erika's curiosity about her uncle and his condition looks like an attempt to build a different relationship with the (male) power – the more in the light of the strange bond between the promiscuitive Angelika (Lena Urzendowsky) and her own creepy uncle in the segments in the German Democratic Republic of the 1980s. She consciously aware of his perverse attention, but still sexually she teases him, as she has pain, in response to something that is too intimate in the fabric of her life in order to put into words. Any observation of her almost catatonic mother seems to be an uprising – what exactly?

“Sound of Falling” is an intellectual puzzle, even if it is in physical sensations and striking images – with the kind approval of the Director of Photography Fabian Gamper – and its most recent segment offers a hint, even if it deepens the secret. The child Nelly (Zoë Baier) Feel the same drawing towards annihilation and death as Angelika, but the reasons for this are brighter. Her circumstances are thinly drawn: we only know that she lives in the dilapidated farmhouse that her parents renovate. There are no strange psychosexual tensions in the game, but the child dreams of death. Could the family unit itself be the source of its fatal impulse? There is no clear answer, and Schilinski leaves enough of this grinding open for the “sound of falling” in order to linger into the mind.

For this writer, who alternately persecuted and angry about the intentionally opaque nature of the film, the source of all this visceral despair seems to be hypocrisy. It lies in the complicated silence of the patriarchal families, where women always have to stay calm – like Alma's mother, who tells her children that she loves her by blinking in her direction in dinner. It is also in the comfortable gaps of history books that ignore the extent of the suffering of women and expect them to continue as usual. From there it is not difficult to interpret “Sound of Falling” as a warning against Germany's own selective memory. Despite all the extensive ambitions, Schilinski's second feature is most effective and moves on a human yard. As a dissociative film, he restores the febrile feeling of a spirit that is fragmented by too many painful truths that continue to linger in the body long after they have disappeared from memory. [B+]

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