‘Sound of Falling’ Director Demands No Boundaries at Cannes

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German filmmaker Mascha Schilinski presents “The Sound of Falling” at the Cannes Competition, accompanied by the spectral presences that troubled her during the co-writing process with Louise Peter on a rural farm.

“There are spirits and ghosts in us, and ghosts that live on this old farm,” she says.

Upon entering a room, one can sense the past events that transpired, even if they’re unknown. This is reminiscent of our writing process. Though this location had been deserted for half a century, it remained untouched – a spoon left behind by a farmer being just one artifact still present.

She reflects on the concept of “time happening all at once,” she explains. In the movie, produced by MK2, four girls from distinct time periods, spanning a century, spend their youth on a farm located in Germany’s Altmark region. The eras – and the tragedies associated with them – intertwine effortlessly.

The movie holds significant personal value, as it immerses us directly into the characters’ lives. We witness their journey through their perspective. Primarily, this film is concerned with memory and perception. Initially, you’re confined to the present moment and your physical self, but as time passes, when reflecting on past events, you can view yourself from an outside perspective.

Originally from Berlin, Schilinski first appeared in a feature film titled “Dark Blue Girl” in 2017. However, the intense and impactful “Sound of Falling,” co-produced by Lucas Schmidt, Lasse Scharpen, Maren Schmitt, Studio Zentral, and ZDF (a historical drama), seems to be her debut picture according to her own words.

Immediately following my departure from the Film Academy in Baden-Württemberg, this was my initial venture. The budget assigned was suitable for that scale, but not necessarily for the expansive nature the project eventually took on.

Instead of dwelling on grand political events or the overwhelming tragedies of war, she highlights small yet profound experiences that her characters undergo. These experiences, such as children witnessing death, dairy maids being forcefully sterilized, or a girl struggling between East and West Germany, are so powerful they defy verbal expression. Yet, these moments indelibly mark their lives forever.

She emphasizes that beneath their exterior, there are unseen aspects in her movie. When discussing memory, it’s not just what we can recall that matters, but rather which fragments of our past we can reach. Since memory functions in a complex way, the most impactful moments might not necessarily be the largest traumas or significant events.

She wonders aloud: ‘Could there exist something akin to ‘body memories’, recollections of incidents that may predate our birth? Memories we can’t consciously grasp but that still influence us profoundly, memories we can’t articulate because we lack the vocabulary for them. Could specific experiences be inherited across generations?’

In “Sound of Falling,” it appears that the characters are indeed interconnected, forming a bond so strong they seem inseparable, seemingly trapped within a cycle they can’t escape.

They have no means of escape other than death, a thought that crosses many of their minds. Yet, there’s an equally powerful longing within them to continue living,” she remarks.

She expresses that our inherent desire is to live; she was intrigued to discover what it takes for this drive to ultimately weaken. As a filmmaker, she emphasizes the importance of empathizing with her characters and seeing the world through their perspective. She admits to feeling compassion for them and wanting to uncover more about them, which can only occur if she can identify with them to some degree. Although she might not always find justification for their questionable actions or poor choices, she does seek understanding.

Preparing for the upcoming premiere at Cannes, Schilinski is pondering on additional tales to share. Above all, she yearns for a chance to play.

I find joy in the fact that cinema, being a relatively modern form of artistic expression, still holds many unexplored aspects for me. I yearn to continue delving into its potential. Ideally, I seek an experience without any constraints.

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2025-05-14 13:12