Mascha Schilinski
31 connections found
Filmography
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Connections, in both directions
The White Ribbon (2009)
Directed by Michael Haneke
influenced Sound of Falling (2025)
Themes Visuals
Sound of Falling will inevitably be compared to The White Ribbon, Michael Haneke’s portrait of the birth of the resentments that would lead to World War II, told from the point of view of a village in the late 1910s.
The severity of Alma’s agrarian 1910s existence evokes Michel Haneke’s The White Ribbon…
Schilinski’s Sound of Falling feels spiritually connected to Sabrina Mertens’s Time of Moulting and Michael Haneke’s The White Ribbon, all three reaching for similar perspectives on how the national traumas throughout German history play out in the personal traumas of German families and communities.
…the rigidity of human darkness found in Michael Haneke (The White Ribbon is a good reference point)…
The Virgin Suicides (2000)
Directed by Sofia Coppola
influenced Sound of Falling (2025)
Visuals Themes
…comparisons to Sofia Coppola’s The Virgin Suicides or Peter Weir’s Picnic at Hanging Rock are extremely tempting, but not quite on the mark…
…its tone and subject matter are much closer to Sofia Coppola’s The Virgin Suicides. Like Coppola’s film, Sound of Falling embodies a dreamlike melancholy, with each girl drawn to the idea of death in a way that’s both curious and contemplative.
…its coming-of-age focus will undoubtedly draw comparisons to Sofia Coppola’s The Virgin Suicides…
…it has become a recurring theme explored by films as disparate as Robert Zemeckis’ Here, Steven Soderbergh’s Presence and Joachim Trier’s Sentimental Value. Of those films, the film Sound of Falling shares the most with is, surprisingly, Here, which treats the camera as an unseen witness to the lives lived in a place…
Where a film such as Robert Zemeckis’ Here approaches a similar conceit with a trite wash of sentimentality and a cinematic gimmick, Sound of Falling opts for ambition and total trust in its audience…
“Sound of Falling” is exactly what Robert Zemeckis’ “Here” (2024) was trying to be. In both films, the camera is the eye, as we are the invisible visitors/observers watching different generations of people inhabiting a single space over periods of time.
The way the film remains anchored to the same house through the decades calls to mind Robert Zemeckis’ Here…
Much like another film in the Cannes competition this year, Sound of Falling, Trier and co-writer Eskil Vogt (The Worst Person in the World) seem interested in how grief and emotional experiences are inherited and shared…
…it has become a recurring theme explored by films as disparate as Robert Zemeckis’ Here, Steven Soderbergh’s Presence and Joachim Trier’s Sentimental Value…
It’s a theme that shows up in a buzzy award season frontrunner, Sentimental Value…
…comparisons to Sofia Coppola’s The Virgin Suicides or Peter Weir’s Picnic at Hanging Rock are extremely tempting, but not quite on the mark…
…all contribute to a dreamlike atmosphere reminiscent of Peter Weir’s Picnic at Hanging Rock…
…many of these ordinary, albeit accurate, observations were articulated far more compellingly in Sarah Polley’s “Women Talking.”
“Falling” could also serve as a companion piece to Sarah Polley’s “Women Talking” (2022), another gutsy, detail-oriented chronicle that zooms in close, holding that gaze on the shared and individual wounds of girls and women.
To be clear, “Sound of Falling” is no “Nickel Boys” or “Chronology of Water” which invented a new way of using camera perspective to tell a story.
Like Persona or Cries and Whispers before it, this is a movie that moves at its own pace, engaging with hypnotic imagery and broad, even nebulous ideas.
Like Persona or Cries and Whispers before it, this is a movie that moves at its own pace, engaging with hypnotic imagery and broad, even nebulous ideas.
…its depiction of the desire of girls to mimic both what they covet and what they don’t understand is perhaps most similar to Robert Altman’s off-kilter, dreamy exploration of womanhood, 3 Women…
In fact, the entire first act reminded me of Lynch’s “Eraserhead” (1977).
Not since Volker Schlöndorff’s Oscar-winning The Tin Drum, have the slithering eels been used in such an indelible way.
The use of the tracking shot here recalls the classic tricycle scene in The Shining…
Schilinski’s eerie film is like “Fanny and Alexander” (1982) crossed with the darkest detours from David Lynch or Lynne Ramsay.
…as if you are watching psychological horror in the vein of The Ring or other dark mood pieces…
It is like a Love, Actually for miserable people: in both films women fail to get what they want or deserve, but at least here no one is pretending to be funny.
…there was a sequence involving a young girl and a stream that was reminiscent of one of the most haunting moments of Spielberg’s War of the Worlds.
…these chilly frames are lively and terrifying, invoking a forced audience engagement resembling Claire Denis (“White Material”)…
In one scene, a character floats off the ground in a shot reminiscent of Malick’s The Tree of Life…
The Zone of Interest (2023)
Directed by Jonathan Glazer
influenced Sound of Falling (2025)
Visuals Music
Thematic DNA is shared between Sound of Falling and Zone of Interest. Both feel voyeuristic in an uncomfortable way, close to the violence but never lingering for long or up-close.
Not since “The Zone of Interest” (2023) has a film’s sound (Claudio Demel received top credit there) been so central to its eerie identity, and “Falling” clearly aligns with Jonathan Glazer’s period piece in its unsparing, critical eye towards history.