for Sivas at variety

...It’s only when Sahin and others enter Sivas into a regional dog-fighting contest — a sweaty-palmed overnight sequence realized with tense sensory specificity by Mujdeci, editor Yorgos Mavropsaridis and the film’s fine-turned sound team — that Aslan begins to have doubts about the enterprise.

by Guy Lodge (Variety), for "Sivas"

see full article at Variety

for Fynbos at Variety

Despite ace production values -- lensing and sound design are particularly effective.

Pacing is aptly deliberate, as helmer Harry Patramanis, working from a spare script he co-wrote with Jonathan Kyle Glatzer, makes efficient use of pregnant pauses and ambient sound.

by Joe Leydon (Variety), for "Fynbos"

see full article at Variety

for The Capsule at Twitch

The Capsule, however, is evidence enough that she possesses a bold talent for stunning, unexpected and powerful imagery--and an expert knowledge of how to marry that imagery with haunting sound design in a manner which catches viewers off-guard, but keeps the figurative hooks in until the credits roll.

by Teresa Nieman (Twitch), for "The Capsule"

see full article at twitch

for Alps at dvd talk

Lanthimos and his technicians have crafted an apt aural dimension for the Alps and their world, too; the still-life quiet of bourgeois Athenian ways of living is essential to the film's building (and, in the end, shattering) of a recognizable, stifling environment and, like most any good contemporary European filmmaker (most of the best being spiritual children of Robert Bresson and his ingenious reconsiderations and displacements of movie sound), he makes a captivating virtue out of refusing any semblance non-diegetic score, though music as it occurs in the characters' experience, particularly different kinds of music and what they represent, plays quite a significant narrative role...

The sound track is very fine; all of the sound is deep and multilayered, whether it's the dialogue, the music (always strictly diegetic; there is no score), and other, less comfortable sounds make the precise impact that the Lanthimos and the film's conscientious sound designers meant them to.

by Christopher McQuain (dvd talk), for "Alps"

see full article at dvd talk

for Attenberg at dvd talk

The film's very fine sound design is almost entirely free of non-diegetic sound, but this is the kind of film (like those of Bresson or Haneke) where every little noise, onscreen or off, is vital, carefully chosen and calibrated to set the emotional tone and set each scene's particular level of gravity.

by Christopher McQuain (dvd talk), for "ATTENBERG"

see full article at dvd talk

for Attenberg at cinegeek

The audio is fantastic. It needs to be, sound is a very big part of Attenberg. The dialog and the ambient sound never got in each other's way. It's all there just like it is in real life.

by Mike Young (cinegeek), for "ATTENBERG"

see full article at cine geek

for Attenberg at battleship pretension

On an aesthetic level, the film is a feast to listen to. The notable lack of a musical score refocuses our attention towards the diegetic sounds of the film. Each scene seems to have some notable background noise to add to the intimate yet distancing narrative. The film is filled with the sounds of industrial hell: Cars, mopeds machinery, air conditioners, all the things that are usually sought to be erased from the soundtrack.

by Patrick Felton (battleship pretension), for "ATTENBERG"

see full article at battleship pretension

for Dogtooth at high-def digest

Though a fairly quiet film, there are moments of impressive sound design on display here. Dialogue is very crisp and full sounding. Surround usage is kept to a minimum, but does come into play in some very natural, and subtlety immersive ways. The director utilizes silence and sparse sound design to great effect throughout, and again, though quiet, there is actually a nice level of dynamic range present which punctuates the more serene elements of the track with the harsher realities at work. This is a deceptively simple track that is actually much more impressive than it may first seem. It's still a strong example of a soft, but effective track.

by Steven Cohen (high-def digest), for "Dogtooth"

see full article at high-def digest

for Dogtooth at blu-ray.com

The film's soundtrack is spartan but effective, matching the minimalism of the imagery well. You'll notice quickly that there's no score dictating how you should feel about any given scene; only incidental music is used in the film. Voices come through cleanly, and the rear channels are put to good use; you'll frequently hear wind and overhead airplanes and numerous other outdoorsy noises. What's more impressive than the quality of the audio—which is all clear and relatively full sounding—is the way the track is edited. This is very much a film that makes you aware of its cinema-ness, as sound and image work with and against each other to obtain a desired emotional effect.

by Casey Broadwater (blu-ray.com), for "Dogtooth"

see full article at blu-ray com

for Wasted Youth at cinema/news

Among the huge advantages of this film is also the perfect sound design. Leandros Ntounis obsessed with fictional soundscapes but also with a unique ability to insightful sound submits the viewer to experimental paths and introduces each scene with a different sound every single time .

by Orestis Plakias (cinema/news), for "Wasted Youth" (translated from Greek.)

see full article at cinema/news

for Wasted Youth at Twitch

Where the film truly shines is in its cinematography and its sound design. I have been lucky enough to visit Athens several times, and this is truly what that city is like during the summer. Many don't realise just how unfathomably LARGE Athens is but its off-white lowrises cover horizon to horizon, while the many hills in it give the streets a very three-dimensional feel. And when it's hot the middle of the city does start to feel like you're in a giant pressurecooker. And that is the feeling we get here: as noon approaches, Haris and Vasilis are in a pressurecooker. Loud background noise is everywhere and a nervous camera seems as hot as the rippling air radiating off of everything.

by Ard Vijn (Twitch), for "Wasted Youth"

see see full article at twitch

for Attenberg at Movie City New

Other strengths include the extremely specific, heightened sound design, as well as a song score that includes work by Suicide, even though 23-year-old Marina is told, "you're too young to like Suicide."

by Ray Pride (Movie City New), for "ATTENBERG"

see full article at movie city news

for Dogtooth at Twitch

The sound mix is a little bit more complex, but in a good way. The sound is crisp and clear, and dialogue is easily discernible. One thing I noticed when watching the film was that for all of the portions of the film set inside the family compound, which is 98% of the film, the wonderful DTS-HD 5.1 track keeps all of the action in the front. However, on the brief occasions that the father ventures out into the world to go to work, the sound mix becomes more immersive with ambient sounds filling the rear surrounds. This is a very interesting and clever trick from the sound designers, and helps to complete the facade. Bravo to that!.

by J Hurtado (Twitch), for "Dogtooth"

see full article at twitch

for Dogtooth at film junk

The use of sound throughout is one of the things I loved most about this film, the children rarely engage in traditional conversation of any kind and so dialogue is rare. In an incredibly beautiful and creative way, long moments of complete silence remove the usual effect of pausing for contemplation and instead this is replaced by a feeling of increased suffocation and claustrophobia.

In its warped and twisted way this film washes over you with its incredible beauty and minimal use of sound and lulls you into a false sense of security, at which point it batters you with ideas and concepts.

by Charlotte (film junk), for "Dogtooth"

see full article at film junk