Cannes: Competition Film ‘Sound of Falling' Gets Rave Reviews, Tepid Ovation
Sound of Falling, the second feature from 41-year-old German filmmaker Mascha Schilinski, had its world premiere on Wednesday afternoon at the Grand Théâtre Lumière as part of the Cannes Film Festival, where it is playing in competition, and was greeted with a four-minute standing ovation.
Co-written with Louise Peter, the German-language drama follows four girls — Alma (Hanna Heckt), Erika (Lea Drinda), Angelika (Lena Urzendowsky) and Lenka (Laeni Geiseler) — who live, at different points over the course of a century, on the same farm in northern Germany.
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Originally titled The Doctor Says I'll Be Alright, But I'm Feelin' Blue, the two-and-a-half hour film is the product of a 34-day shoot. It is still seeking U.S. distribution, and interest in it amongst top-tier distributors is said to be strong.
The Hollywood Reporter's review raves that Sound of Falling 'resembles nothing you've quite seen before, making you question the very notion of what a movie can be,' and further describes the film as 'a transfixing chronicle' and 'cinematic tone poem,' likening it to Terrence Malick's 2011 Palme d'Or winner-turned-best picture Oscar nominee The Tree of Life, 'although this is Malick by way of Jane Campion and Michael Haneke.'
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Newsweek
17 hours ago
- Newsweek
Jon Bernthal Returning as Punisher in 'Spider-Man: Brand New Day'
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USA Today
18 hours ago
- USA Today
Fuerza Regida on making history, performing in LA amid turmoil
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"Us bringing corridos to these venues, I'm pretty sure it's for the first time, so we're really happy that our genre is growing and growing," Paz says ahead of the shows. "We're excited, we've been breaking all these records and making history." Interview: Fuerza Regida on Mexican music going global and why they're the pioneers In May, the all-genre Billboard 200 album charts, saw for the first time Spanish-language albums in the No. 1 and No. 2 spots at the same time − Bad Bunny's "Debí Tirar Más Fotos" and Fuerza Regida's "111XPANTIA," respectively. More than that, it marked Fuerza Regida's highest-charting album to date, and the highest-charting Spanish-language album by a duo or group, or a regional Mexican music album, ever, according to Billboard. With nearly a decade in the industry under their belt, reaching the top of the charts isn't new territory for the group members anymore. 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Los Angeles Times
19 hours ago
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Dispatches from northern China, Jia Zhangke's movies constitute their own cinematic universe. Repeatedly returning to themes of globalization and alienation, the 55-year-old director has meticulously chronicled his country's uneasy plunge into the 21st century as rampant industrialization risks deadening those left behind. But his latest drama, 'Caught by the Tides,' which opens at the Frida Cinema today, presents a bold, reflexive remix of his preoccupations. Drawing from nearly 25 years of footage, including images from his most acclaimed films, Jiahas crafted a poignant new story with an assist from fragments of old tales. He has always been interested in how the weight of time bears down on his characters — now his actors age in front of our eyes. When 'Caught by the Tides' premiered at last year's Cannes Film Festival, critics leaned on a handy, if somewhat inaccurate, comparison to describe Jia's achievement: 'Boyhood,' which followed a young actor over the course of 12 years, a new segment of the picture shot annually. But Richard Linklater preplanned his magnum opus. Jia, on the other hand, approached his film more accidentally, using the pandemic lockdown as an excuse to revisit his own archives. 'It struck me that the footage had no linear, cause-and-effect pattern,' Jia explained in a director's statement. 'Instead, there was a more complex relationship, not unlike something from quantum physics, in which the direction of life is influenced and ultimately determined by variable factors that are hard to pinpoint.' The result is a story in three chapters, each one subtly building emotionally from the last. In the first, it is 2001, as Qiaoqiao (Zhao Tao) lives in Datong, where she dates Bin (Li Zhubin). Early on, Qiaoqiao gleefully sings with friends, but it will be the last time we hear her voice. It's a testament to Zhao's arresting performance that many viewers may not notice her silence. She's so present even without speaking, her alert eyes taking in everything, her understated reactions expressing plenty. Young and with her whole life ahead of her, Qiaoqiao longs to be a singer, but her future is short-circuited by Bin's text announcing that he's leaving to seek better financial opportunities elsewhere. He promises to send word once he's established himself, but we suspect she may never see this restless, callous schemer again. Not long after, Bin ghosts Qiaoqiao, prompting her to journey after him. 'Caught by the Tides' richly rewards viewers familiar with Jia's filmography with scenes and outtakes from his earlier movies. Zhao, who in real life married Jia more than a decade ago, has been a highlight of his movies starting with his 2000 breakthrough 'Platform,' and so when we see Qiaoqiao at the start of 'Caught by the Tides,' we're actually watching footage shot around that time. (Jia's 2002 drama 'Unknown Pleasures' starred Zhao as a budding singer named Qiaoqiao. Li also appeared in 'Unknown Pleasures,' as well as subsequent Jia pictures.) But the uninitiated shouldn't feel intimidated to begin their Jia immersion here. Those new to his work will easily discern the film's older footage, some of it captured on grainy DV cameras, while newer material boasts the elegant, widescreen compositions that have become his specialty. 'Caught by the Tides' serves as a handy primer on Jia's fascination with China's political, cultural and economic evolution, amplifying those dependable themes with the benefit of working across a larger canvas of a quarter century. Still, by the time Qiaoqiao traverses the Yangtze River nearby the Three Gorges Dam — a controversial construction project that imperiled local small towns and provided the backdrop for Jia's 2006 film 'Still Life' — the director's fans may feel a bittersweet sense of déjà vu. We have been here before, reminded of his earlier characters who similarly struggled to find love and purpose. The film's second chapter, which takes place during 2006, highlights Qiaoqiao's romantic despair and, separately, Bin's growing desperation to make a name for himself. (This isn't the first Jia drama in which characters dabble in criminal activity.) By the time we arrive at the finale, set during the age of COVID anxiety, their inevitable reunion results in a moving resolution, one that suggests the ebb and flow of desire but, also, the passage of time's inexorable erosion of individuals and nations. Indeed, it's not just Zhao and Li who look different by the end of 'Caught by the Tides' but Shanxi Province itself — now a place of modern supermarkets, sculpted walkways and robots. Unchecked technological advancement is no longer a distant threat to China but a clear and present danger, dispassionately gobbling up communities, jobs and Qiaoqiao's and Bin's dreams. When these two former lovers see each other again, a lifetime having passed on screen, they don't need words. In this beautiful summation work, Jia has said it all.
