“A film that allows the most powerful statements to emerge in wordless moments.”

The United Kingdom has a strong canon of social realist films, ranging from the days of Alan Clarke and Ken Loach to the continued triumphs of Mike Leigh and all those who were inspired by these cinematic revolutionaries who set out to tell stories that reflected the trials and tribulations of ordinary people. An exciting new voice has emerged within this group of burgeoning filmmakers following in the footsteps of the pioneers of what has collectively come to be known as kitchen-sink realism: Laura Carreira, whose feature directorial debut On Falling fits in perfectly with these films. Set in a remote working-class neighborhood in Scotland, the film follows the daily routine of Aurora, who moved from Portugal in the hopes of giving herself a better life, only to find herself trapped in a menial job that is both unfulfilling and extremely lonely. It forces her to seek companionship elsewhere, but she discovers that it is difficult to both navigate a new culture and form friendships with those who similarly exist on the margins of society. This is a simple but effective character-driven drama that is focused on exploring the internal existential quandaries of a protagonist who is making her way through unfamiliar terrain while also trying to make a living. Carreira provokes a conversation with this barbed but compassionate glimpse into the human condition, using simple techniques to tell a poignant story that is both insightful and genuinely moving, showing the audience a different side of a subject that continues to be divisive.

Something that is rarely discussed in stories of individuals seeking greener pastures by leaving their homes and searching for a better life elsewhere is the crippling loneliness that can accompany such an endeavor. Whether as a migrant, expatriate or refugee, there is a sense of isolation that can sometimes come with the process, which is a concept that Carreira implicitly understands and assimilates into every frame of On Falling. The film captures the sensation of venturing into a foreign land with enormous ambitions, but lacking the foresight to realize the extent of the solitude likely to be experienced. The director approaches these themes with extraordinary tenderness, and while she may avoid overt sentimentality, there is still a sense of empathy that pushes this film forward, especially in how it shows Aurora’s gradual attempts to elevate herself beyond the margins on which she has previously been surviving. This character is not someone whose plight is bad enough to lend itself to overwrought social commentary, but rather one of the many people who find themselves alienated from their surroundings as a result of being in an unfamiliar location, and the growing sense of isolation as a clear outsider begins to erode not only her confidence, but also her sanity. On Falling is as much about the challenges faced by immigrants as it is a statement on the mental health obstacles those who attempt to assimilate into a new culture face. Carreira deftly avoids depending on culture shock as a novelty, and instead chooses to approach these themes with a stern but consistent perspective that adds layers of meaning to an already complex film.

Part of the impact made by On Falling comes in how the protagonist is developed and portrayed. Aurora is a fascinating character – she is by all accounts an ordinary woman seeking a better life, and there isn’t much about her that sets her apart from her colleagues or the fellow immigrants she encounters over time. Yet, she is still someone who earns our empathy, not in spite of her ordinary nature, but as a result of these same qualities. Social realism is always strongest when there is a sense of resonance in its perspective, and the part of someone who possesses very few bespoke skills or talents that make her a diamond in the rough is something to which many can relate, especially when filtered through the superbly empathetic lens with which this story is told. Joana Santos is a revelation in the part – her ability to take this character, who is by all means an ambiguous protagonist, and infuse the part with such empathy, is one of the primary reasons the film carries a sense of authenticity. Aurora is not portrayed as someone who is free of shortcomings, but rather someone whose imperfections are evident, albeit not severe enough to lose our interest. The film follows her efforts to become a part of a society that will always see her as an outsider, even if she does come across a few compassionate individuals who do their best to overlook her position as an immigrant. There is a humanity to On Falling that starts with Santos’ performance and spreads to the supporting cast, who make up the emotional core of the film and allow it to flourish into something far more multidimensional in terms of commentary than its simple exterior would suggest.

Without any doubt, On Falling is a very subtle affair – this is a film that allows the most powerful statements to emerge in wordless moments, where the non-verbal cues and tone convey the most meaning, which is a challenging task but one that Carreira is more than prepared to embrace as she tells this story. There is an urgency behind this film – perhaps the premise of a Portuguese immigrant seeking a better life elsewhere may not be as immediately provocative as those focused around third-world immigrants making their way to more developed countries, but the overtures of discourse are still present enough to make On Falling a complex investigation into the immigrant experience. Most of the film is quite subdued, with very few moments of outward emotion, which makes the sequences where we do see the psychological toll this decision is taking on the protagonist all the more powerful and affecting. It eventually becomes a story of survival, albeit one based on the lengths to which someone will go to find a home in a place where they have been deemed as an outsider, and where assimilating into a new society poses a variety of obstacles, whether linguistic or cultural – but there is always the possibility to overcome these hindrances. It’s a decidedly straightforward narrative, and it refuses to trivialize Aurora’s journey, choosing instead to show us a touching character study about the grit and determination it takes to find a better life, which is not always guaranteed to those who seek it out. Poignant but impactful, and driven by a true sense of humanity concealed under layers of social realism, On Falling is a film that conveys a very clear message and delivers it with genuine affection and attention to detail, which is important for a story that carries such resonance.