Imagine stepping into the fragmented memories of individuals—this is the captivating premise of the German film Sound of Falling. The movie delves into the recollections of four girls across multiple generations, all tied to a rural farm in northern Germany. The narrative unfolds like a stream of consciousness, with memories appearing disjointed yet intricately connected, revealing the enduring impact of traumatic events on the psyche.
Swiss cinematographer Fabian Gamper, who earned the 2025 Camerimage Silver Frog award for his work on the film, emphasizes that he and director Mascha Schilinski aimed for a storytelling approach that does not present a clear path for viewers. “We didn’t want to draw clear lines [for the viewer] so that the puzzle of trauma would be easily solved,” Gamper noted. “You’ll see experiences from long ago that are written into people’s bodies and although we may be generations removed from them, they still influence us in a subconscious way.”
The film’s visual style evokes the aesthetic of unearthed 8mm and 16mm home movies, with a texture reminiscent of forgotten family documentaries. Gamper explained that “the look of the film — or rather, the degree of abstraction and the design of the effects — is not homogeneous, but varies throughout.” This variability was intentional, as the team sought to balance interesting blurred effects that convey the concept of memory while ensuring the images remain clear enough for the audience to appreciate the performances of the actors.
Exploring Memory Through Innovative Lens Techniques
Gamper utilized a mix of contemporary digital cameras, including the Arri Alexa Mini and Sony ILME-FX6V, as well as a variety of lenses, such as Cooke S2/S3 rehoused by TLS and a Cooke Cinetal 25-250mm MK III zoom. He also experimented with unconventional optics to achieve the internalized memory images essential to the film’s narrative.
One of the unique approaches involved mimicking the long-exposure, soft-focus effect characteristic of early postmortem photography. Gamper explained that, historically, photography was not widely accessible until the early 1900s, leading to a scarcity of images of common people, particularly in rural areas. When someone passed away, family members often had no photographs of their loved ones, prompting photographers to capture images of deceased individuals posed as if alive. “Since film emulsion was very gradual at the time, long exposure times had to be used, which resulted in motion blur if anyone holding the deceased moved slightly,” Gamper recalled.
Innovative Lens Modifications
The film’s abandoned farmhouse location provided an ideal setting for extensive lens tests, which helped Gamper achieve the desired effect reminiscent of postmortem photography. He employed a Thingyfy Pinhole Pro 58mm multi-aperture lens and modified Soviet-era lenses, including the Mir-1B and Helios 58mm, to create the film’s distinctive look.
“The first test shots that we thought matched the images in our memory were those taken with the pinhole camera,” Gamper stated. He initially experimented with a simple piece of sheet metal to create a modest hole in front of the sensor, resulting in a mystical image devoid of a focal plane. “It felt to me as if it came from far away, as if there were a veil over it,” he added.
Gamper also drew inspiration from the photography of Francesca Woodman, known for her long-exposure black-and-white portraits. By reversing the front element of the Mir-1B lens, Gamper created a blur effect that was used to emulate the feeling of memory. “I bought this vintage still lens quite cheaply on eBay. The optical construction is very simple, so I detached the front element and put it in backwards,” he explained.
Fluid Camera Movement and Underwater Filming Challenges
To create a sense of floating through memories, Gamper often utilized a Steadicam, allowing the camera to move fluidly like an invisible observer. He even developed an effect where the ghostly observer would “blink” by closing his fingers in front of the lens to create a subjective reddish light.
Filming underwater presented unique challenges due to murky water conditions. Gamper noted, “A pool would have been clearer, but we had to shoot on location.” He discovered that positioning the camera close to the actors, along with sunlight filtering through the water, enhanced the memory-like quality of the scenes.
Low-Budget Innovation and Visual Storytelling
Despite initial plans to shoot on 16mm film, the budget constraints led to the use of digital formats. During pre-production, Gamper designed LUTs based on Kodak’s 5207 stock to emulate the desired look. The final grading was completed by colorist Maik Lezius at D-Facto Motion.
Reflecting on Sound of Falling‘s success, Gamper expressed gratitude for the opportunity to visually narrate a story that relies heavily on mood and sound. “This was a project with very little money, but a lot of love and energy from the whole cast and crew,” he shared. “I had a lot of fun going ‘off the beaten track’ and playing with visual abstractions.”
Sound of Falling continues to gain recognition, having premiered at the 2025 Cannes Film Festival, where it won the Jury Prize and has been selected as the German entry for Best International Feature Film at the upcoming 98th Academy Awards.
As audiences engage with this unique exploration of memory, it opens the door for further discussions about the impact of trauma across generations. The innovative visual techniques employed in the film not only enhance the narrative but also invite viewers to reflect on their own connections to memory.
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