Sound of Violence (2021) Review

Sound of Violence is the directorial debut of producer turned filmmaker Alex Noyer – in a feature based on his 2018 short ‘Conductor’. Filmed in LA in late 2019, Sound of Violence expands on the short – introducing new elements that put flesh on the bones of the 7 minute predecessor.

It stars Jasmin Savoy Brown (perhaps most recognisable from her role in ‘The Leftovers’) as synaesthetic Alexis and follows her journey of discovery as she races to develop her aural masterpiece against the threat of complete hearing loss.

Having been described by Noyer as a character thriller, the feature focuses heavily on the relationship between Alexis and her roommate/love interest Marie – played by Lilli Simmons. There is definite chemistry between the leads, however despite the connection and context that is weaved into the story – I’m not sure Sound of Violence has any truly likeable characters. Though not necessarily an issue in itself, I did find it made it harder to connect with the characters and some scenes felt a little flatter than they could have been as a result.

As the film opens we are introduced to Alexis during her formative years, learning she is experiencing complete hearing loss and relies on other sensory cues such as vibrations to explore the world around her. Whilst Alexis’s mother communicates via Sign Language, this is the only time we see someone connect with Alexis in this way on screen, opening up the concept that the young girl is cut off from fully experiencing her environment and relationships. Navigating a silent world is complicated further by the arrival of her father; recently returned from war and displaying clear signs of trauma.

Young Alexis experiences her first real exposure to significant violence, which releases a kind of visual euphoria that washes over the child in a mixture of colourful lights, abstract shapes and and bokeh affects.

Synaesthesia can manifest in a range of ways, but is thought to develop in childhood when children are introduced to new and abstract concepts. Ranging from individuals who can taste words to sounds associating with colours, the phenomena shows how differently we can all perceive the world – a concept that fits in perfectly with the artistic vision of the film itself.

For Alexis, she can physically see sounds and takes great pleasure in observing the heightened pain required to achieve her dazzling release. “A heartbeat is a melody” – something Alexis explores far more literally than most.

Sound of Violence feels somewhat restrained at parts but the gore that we do get is intense and aesthetically pleasing, with some great FX and hauntingly beautiful gore that makes a point of demonstrating that horror is just as legitimate an art form as a carefully crafted orchestral composition or a masterful oil painting.

Art is a very subjective experience, something I think becomes very apparent throughout the film. As Alexis thrives on pain as her muse to create her vision in a way it seems she alone can appreciate, I can’t help but draw parallels between the contrasting idea of beauty – particularly during the scene in the art gallery where the garish prints on the wall are sought after by the wine swirling attendees.

They say all good artists are tortured souls, often misunderstood in their time. Perhaps that is the issue here, as personally – I’m not sure I connected as much with Sound of Violence as I would have liked to. For a film so focused on abstract audio visual elements, it could have been turned to 11 and been fantastically and artistically over the top.

If anything though, the subjectivity of art shows that whilst this may not be for everyone – there will be someone it is for.

Movie Rating:

Trailer:

Sound of Violence has its UK Premiere at Arrow FrightFest, 26th – 30th August
Dazzler Media presents Sound of Violence on Blu-ray, DVD & Digital from 30th August