On Falling

A powerful meditation on the confines of working-class power structures, Laura Carreira’s feature debut foregrounds a life of mundanity in all its nightmarish dimensions. Punctuating the painful plights of blue-collar workers in manual labour jobs, predominantly through the eyes of its lead, Joana Santos, On Falling is a captivating addition to the pantheon of social realist cinema. From handheld camera movements to literal kitchen sink exchanges, it’s no surprise that Ken Loach’s Sixteen Films is behind such an arresting production.

Santos executes a stellar portrayal of Portuguese warehouse picker Aurora, who works secluded shifts in Scotland and struggles to find contentment in a capitalist world dictated by financial hardship and fleeting social exchanges. Subject matters as bleak as those presented in this picture can easily make for a draining and debilitating experience. Yet, Santos traverses these preconceptions by way of strong emotional conviction in stirring facial expressions and tender interactions with colleagues, flatmates and townsfolk.

On Falling suffers from the same pacing predicaments that often hinder the effect of a social realist picture’s dramatic intent. Characterised by long takes and a slow narrative form, one could argue that there is plenty of room for evolution and maturity concerning Aurora’s arc. Be that as it may, by employing a meditative approach any semblance of routine or meandering existence provides plenty of food for thought: a visual examination of the notion of stillness; a study on the passage of time, and the importance of human connection in yielding personal development. Items in storage tell the story of basic desires, be it an active sex life or a simple getaway to the Bahamas.

Told with compassion, Carreira directs a sympathetic look at modern isolation in all its humdrum glory. On Falling, carried by an affecting performance from Santos, proves itself worthy of discussion among genre counterparts.