É 1969 em uma rígida escola feminina onde a carismática Abbie e a intensa, e perturbada Lydia são as melhores amigas. Após uma tragédia na escola, uma misteriosa epidemia de desmaios irrompe... Ler tudoÉ 1969 em uma rígida escola feminina onde a carismática Abbie e a intensa, e perturbada Lydia são as melhores amigas. Após uma tragédia na escola, uma misteriosa epidemia de desmaios irrompe, ameaçando a estabilidade de todos.É 1969 em uma rígida escola feminina onde a carismática Abbie e a intensa, e perturbada Lydia são as melhores amigas. Após uma tragédia na escola, uma misteriosa epidemia de desmaios irrompe, ameaçando a estabilidade de todos.
- Prêmios
- 3 vitórias e 5 indicações no total
- Titch
- (as Rose Caton)
Avaliações em destaque
5.3/10
A psychological contagion enabling the exploration of sexuality, moulded by misty melodrama against an autumnal period backdrop. Disturbingly beguiling in nature, through metaphorical body possessions that highlight supernatural elements within the obtrusive sexual motives. Morley, for the most part, captivates when allowing her acting talent to shine through. An innocently naive Williams bravely controlling every scene in her leading role as a psychologically deterred student whom seemingly is a catalyst for the hysteria breakouts. Hospitalised, psychoanalysed and actively withdrawn from therapy, the spells of hysteria are never elaborated. An unexplainable mass psychogenic illness. Morley's intent in ambiguity enables her ostentatious narrative to visualise sexualisation. Hormonal chemicals invading the bloodstream and controlling the mind. A possession, if you will.
Conversely, her screenplay resorts to ethereal poetry and psychedelic narration, emphasising the connectivity between these girls. Unfortunately, several conversational scenes spoon-feed proposed metaphors for the assurance of acknowledgement, most notably the one-sided therapy session that Lydia and her friends endure. Diminishing the bold interpretations that preceded the conclusive act almost indefinitely.
Then the final ten minutes commence and Morley outwardly encounters her own spell of hysteria. The tone alters. The mood unequivocally changes. The pace quickens. She dabbles into darker subjects, a territory that heavily contrasts with the predominantly mystifying narrative. The virginal Lydia interrogating her neglectful agoraphobic mother regarding her father, whilst developing an incestuous relationship with her brother. Discovering her true roots, subsequently offering a hereditary reasoning for her mental instability. It's at this point where Morley loses that tight narrative control. Explicitly presenting a shallow explanation that manages to resolve familial turmoil in a matter of minutes, allowing the supernatural aura to dissipate. Not to mention how under-utilised and misdirected Peake was. Fortunately Pugh's illuminatingly perfect performance makes up for lost talent. The editing imaginatively strings various images together during rapid flashback scenes, which proved effective for the most part. Thorn's soundtrack however was too audacious and overpowering, likening The Falling to a casual summer school trip rather than an existential piece of art.
Morley is a credible director, and The Falling is one feature that uniquely tackles a variety of subjects in a mesmerisingly imaginative manner. Its fundamental issues however are situated in its inappropriate climax and misplaced technicalities that allow the narrative to repetitively faint far too often.
Set in a 1969 girls school, when the promiscuous student Abbie, played by Florence Pugh, accidentally gets pregnant, she begins to suffer from fits of fainting seemingly at random. Her best friend Lydia, played by Williams, deals with the consequences after the epidemic spreads across the school with girls fainting out of control. The film appears to be a story about the friendship between Lydia and Abbie, but it fractures off into different directions, some more engaging than others. Most dramatically is exploration into Lydia's past, or rather, how she came into this world. Her relationship with her agoraphobic mother, played by Maxine Peake, is a key aspect of the film and one of the few things that eventually pay off in a satisfying way, if a disturbing one. It needed some more development beforehand to feel fully fleshed out, but the delivery of it in the third act is the film's greatest strength.
While kept deliberately ambiguous, it appears that the fainting is somewhat of a punishment for early sexual behaviour (which incidentally appears to mostly be instigated by Lydia's brother, played by Joe Cole). There's no charm in its apparent disdain and shaming for the young girls' urges and it doesn't feel like a thought thoroughly argued through enough. It's most interesting for the way the authority figures react, which is in complete denial that anything is wrong, even when Lydia is on her knees in the hallway. Even so, characters don't react the way people would react to others fainting, though perhaps it's supposed to hint about how it's become so tiresome. It contributes to the uneasy atmosphere of the film with its dreamlike eeriness.
It is quite rewarding to see Maisie Williams in this type of environment for a change. It's clear that she's making the most of it and trying her best to feel natural, but she doesn't quite have the conviction to make it work just yet. In time she'll be a great actress. It just feels as though Morley has misjudged what the film was trying to do for the most part, thematically and tonally. It does have some good aspects and interesting tidbits, existentialism that's valid if unremarkable, but as a whole it brings nothing new stylistically to the table and is often too uninspired in execution. It has a bizarre sense of humour that doesn't quite gel with its thoughtfulness and mystery. Solid production for the budget, interesting and engaging moments here and there, but The Falling is misguided from the script's initial intentions direction.
6/10
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Você sabia?
- CuriosidadesAccording to Maisie Williams, director Carol Morley instructed Maxine Peake (Eileen Lamont) to not communicate with Williams (Lydia Lamont) and to keep her distance from her, in order to replicate the lack of relationship between their characters. Morley did not tell Williams about this, which left Williams feeling disliked and upset throughout the shoot due to the way Peake was ignoring her. Williams eventually found out about it during the wrap party after shooting had ended, when Peake told her about Morley's instructions and apologized for any upset caused.
- Erros de gravação(at around 21 mins) Abbie is stirring her pudding with her left hand. When the camera angle changes, the spoon is in her right hand and her left hand is up under her chin.
- Citações
Lydia Lamont: I resent this idea that we're just emotional. This is real.
Psychiatrist: It's real, it has consequences, yes. What's important here is that it's real to you.
Lydia Lamont: Real to me, what does that mean? It's real to all of us. Something's seriously wrong. Why is everyone ignoring us?
- Cenas durante ou pós-créditosDisclaimer near the end of the credits: "Although this film was inspired by a variety of real episodes of mass psychogenic illnesses, the narrative is entirely fictional."
- ConexõesFeatured in Film '72: Episode #44.3 (2015)
Principais escolhas
- How long is The Falling?Fornecido pela Alexa
Detalhes
Bilheteria
- Orçamento
- £ 750.000 (estimativa)
- Faturamento bruto mundial
- US$ 569.498
- Tempo de duração
- 1 h 42 min(102 min)
- Cor
- Proporção
- 1.85 : 1