Critic Reviews

This is terrific film-making – enough to bring a rush of blood to the head.

For all The Falling’s period trimmings, its uncanny power resides in these ellipses and blackouts – in elements that cannot be easily rationalised.

This dizzying, courageous, utterly humane and slightly unhinged film is a unique achievement.

Ambiguity is The Falling’s currency, and it’s all the richer for it.

Morley marries a quasi-Victorian premise with a modernist technique that feels drawn from her film’s own milieu.

Every time the picture opens a fascinating door, you're held back from going through by a naff filmmaking choice or a rote story move.

Carol Morley’s film has a lot going for it, not least a thick, vaporous atmosphere, alive with unease and sexual anxiety, and an eye-catching debut from the casually charismatic Florence Pugh.

The Falling's refreshingly all-female perspective expects the viewer to become wholly caught up in its broad surge of feeling, yet there's something unsatisfactory and disaffecting about the film's asinine finale.

The film all leads to a melodramatic climax that wraps up the main character's explosive acting out in a too-neat package.