The ominous Droning Rush flocked in a few dots in "sound drop" like the weight gain momentum, which was probably this recurring auditory pattern that gave Mascha Schilinski's sophisticated sophomore with its vague English title. It has nothing to do with the original German title of the film, which makes even less sense in “gaze the sun” and if it seems like it is a totally difficult task, it is a difficult role because it changes feelings and experiences once a day, and it is indescribable.

Schilinski lives on the same forbidden farm in northern Germany (if they don't die) life (if they don't die) life (if they don't die) life, constructing a haunted house story telling a unique and devastating proportion, in the 20th century, women visit a period of history Kurt, who had visited throughout the 20th century, but has now changed a song, and it's a song that has changed. Strong in form but not harsh, filmed with deep humor and trembling sensual intensity, "Falling Voice" marks Schilinski's ambitions and execution, which Schilinski's promising but relatively small debut in 2017's "Dark Blue Girl" and in Cannes' main competition, it was an unexpected but totally earned in the 41-year-old beremane by be Forefor nin canne cancel and vernemane vernemane canne and vernement of the Maint.

Commercially speaking, skilled handling by identifying Arthouse distributors will be required to attract audiences, in the most meaningful way, and it is difficult to pack or summarize. Schilinski and co-author Louise Peter's twists and turns of the original script includes four narrative chains, each filled with its own mysteries, ambiguity and floating changes. They weave together in an Impressionist order and begin to reflect and resemble in complex ways. Together they form the Nine-headed women of Nine-headed women, and have hardly been prepared for every successive generation in the past with bruises of desire, abuse and death – in a world still dominated by violent patriarchy, nothing that kills you will make you more cautious.

It begins with the rarest of the four, a snapshot of a ruthless country routine that straightens out the stories before the story and succeeds in chronological order. Red-headed teenager Lea Drinda is introduced in a dark farmhouse corridor on one leg, supported by a cane as her father raucously calls outside to ask her to caress the pig.

But she was just playing: her left leg was tied under her clothes, and the crutches did not belong to her, but her bedridden amputator Uncle Fritz (Martin Rother). He brutally attacked her face as she let go of her tricks and went to find her father. No wonder she entertained the personal fantasy of disability. Her reaction to the blow was a small, creepy smile that reached straight to the hovering, ambiguous camera of DP Fabian Gamper - not Schilinski's female protagonist silently broke the fourth wall for the first time, inviting the audience to look in an environment that otherwise had no concern or censorship.

Erika lives in close shadows of World War II and is a descendant of Alma (nine-year-old Hanna Heckt, outstanding in her big screen debut), a curious, linen-haired young daughter, a stern-cultivated family at the turn of the century. Alma is also given prank and whimsical, desperately supplying quality in a family characterized by physical and psychological pain. Through her eyes we learn how young, once flowered Fritz (Filip Schnack) lost the barbaric truth of the legs and behind the mourning manner of the trike (luzia oppermann) - one of the many maids, one of her employees who were forcibly disinfected. Although she only learned about some of the things she witnessed through the keyhole or the adult fable of y, Alma's innocence turned dark throughout the summer, to the end of her own expectation of death.

In the other direction, the genealogy extends to Erika's sister IRM (Claudia Geisler bading), who became restless teenager Angelica (a super Lena Urzendowsky), whose increasing number of sexual awakenings are being passed by her uncle Uwe (Konstantin Lindhorst) and her Gei forlian forlian forlian crouts frollian croutel (florian croun), Florian (Geioul) (florian florian) (florian florian) florian (the latter is the only male character that helps to keep dubbing, otherwise alternate between female principals, sometimes looking back at some distance to their youngsters, and a more omniscient narrator. Today, the farm is the summer house of a middle-class Berlin couple and their daughters Lenka (Laeni Geiseler) and Nelly (Zoë Baier), although the House's love history and female anxiety seem to exude their regrets as well.

Shot at a suitable restricted academy ratio, Schilinski and Gamper visually combine the film’s switch era with a grainy texture composition, evoking faded family photos in other shots, while others evoke a light black and light black and brown palette with only a bunch of stimulating browns evenly revealing a hint of blue blue. This distressed image provides a proper aesthetic for storytelling, with each scene being seen as subjective memory with some blurred details while others are presented. The camera is alert, but sometimes hesitant to locate, as if trying to recall the layout of the forgotten scene.

In sound, "The Fallen Sound" also sews its schedule with the static and silence on the pattern - and a repetitive needle dripping into "Stranger," a craze, cautious ballad by contemporary singer and lyricist Anna von Hausswolff, and its own expression of multiple emotional conflicts with the body. (“Something is against me,” she sings. “It doesn’t fit the world I know.”) In this movie, there is no better craft, performance or poetry that is rushed or ignored, and it ends up sounding ultimately warning of oneself, not only of oneself but of a story that is more shared with them, but of what is to be thought of, but of what is to be thought of, but of what is to be thought of, but of what is to be thought of, but of what is to be thought of, but of what is to be thought of. If these walls could speak, this shocking film summed up, they might remain silent.