“Deaf culture is too big to represent,” says Sound of Metal writer/director Darius Marder. He obviously refers to being represented in its entirety, something no culture can hope to be endowed with over the course of a short two-hour film. That comment comes from the Q&A tied to the Independent Film Festival Boston‘s presentation of Sound of Metal as the Centerpiece of their Fall Focus series, though the film first premiered at TIFF last year (the IFFBoston Q&A is archived on YouTube here and is recommended after you see the movie). Marder, a first-time director, has very consciously depicted a specific subcommunity within deaf society, focusing on one of many, many such citizenries. And yet he’s done so with such artistry that Sound of Metal may teach the hearing community more about deaf culture on the whole than a narrative film ever has.
Though you wouldn’t have seen his name under the Directed By credit before (apart from his 2008 documentary Loot), Marder’s collaboration with his writing partner Derek Cianfrance resulted in The Place Beyond the Pines in 2012. The Ryan Gosling/Bradley Cooper crime thriller boasts one of the most original approaches to a traditional three-act structure you’re likely to find, and in a way that approach can be viewed as precursor to the structure of Marder’s directing debut. And that debut has been a long time coming: when Marder and Cianfrance first met more than a decade ago, one of the stories they discussed was Sound of Metal. Cianfrance, who has also directed Blue Valentine, The Light Between Oceans and the stunning HBO miniseries I Know This Much Is True, serves as producer on Sound of Metal.
Motion State Review 