Unlocking Generational Trauma in 'Sound of Falling'

Exploring a Century of Secrets

The film “Sound of Falling”, directed by Mascha Schilinski, traverses both time and trauma within a singular rural setting. Set against the backdrop of a German farmhouse, it delves into the haunting legacies of female experiences through multiple eras, each defined by its unique struggles and societal pressures. As Schilinski leads us through a narrative that spans the 1910s to the present, the film reflects on the insidious ways trauma is transmitted down through generations.

A Shocking Discovery

While developing her screenplay, Schilinski uncovered a chilling historical reality: “the women need to be made safe for the men,” a phrase that refers to the forced sterilization of workers to prevent them from becoming pregnant and thus absent from labor. This shocking insight ignited her interest in telling stories rarely surfaced within the male-dominated narrative of history. “These are accounts we don't know about,” she expressed in a recent interview, candidly noting the immense shame embedded in such stories.

Crafting Unconventional Narratives

Schilinski co-wrote the film with Louise Peter, weaving together the tales of various women across generations. The film's structure—non-linear and layered with surreal imagery—allows us to witness how trauma reverberates through time. The visual storytelling is as mesmerizing as the audioscape, enhancing the haunting tales, from a young girl's confrontation with death in 1914 to sexual advances faced by a teenager in 1980s East Germany.

“The word trauma is often associated with war or big stories, but sometimes it is just small, quiet things.”

Critical Acclaim and Cultural Impact

After premiering at Cannes and garnering the Jury Prize, the film has struck a chord in Germany, where it has received glowing reviews for its bold artistic choices. Critics are particularly enamored with its nuanced exploration of female narratives that lie quietly amidst the clamor of more prominent historical events. A review in Frankfurter Allgemeine Zeitung praised Schilinski's daring aesthetic decisions, labeling it a standout in contemporary German cinema.

Behind the Scenes and Creative Aspirations

The making of “Sound of Falling” was not without its challenges. Schilinski's modest budget—a mere $2.5 million—forced her to be innovative. Set entirely on a deserted farm in the Altmark region, the shoot was pulled off in just 33 days, a testament to both her and her team's resourcefulness.

Another layer of innovation came through her cinematographer and partner, Fabian Gamper, who employed unconventional filming methods, such as utilizing a pinhole camera to achieve aesthetic choices reminiscent of historical photography. This creative flair extends into the performances as well; Schilinski has a particular fondness for working with child actors, who she describes as innate “detectives” in storytelling. Selecting the right faces for the role of Alma took considerable effort, as she auditioned nearly a thousand girls to find one that embodied the spirit of the character.

The Role of Trauma in Our Lives

The film serves as a reminder that trauma can be subtle yet profound, embedding itself deeply within familial and cultural identities. As Schilinski herself reflects, “we can understand our behaviors better if we explore the stories that preceded us.” It raises questions about our own histories, urging audiences to confront the uncomfortable truths that could lie within their own familial narratives.

A Call to Embrace Our Stories

Ultimately, “Sound of Falling” is more than a film; it's an intricate tapestry of generational pain, a juxtaposition of personal vs. collective memory, and a powerful invitation for us to interrogate the legacies we inherit. In celebrating these hidden stories, Schilinski carves out a pathway for deeper understanding and empathy—both for ourselves and for those who shaped the world we live in.