The Guardian by Peter Bradshaw

This is terrific film-making – enough to bring a rush of blood to the head.

Total Film by Jamie Graham

Ambiguity is The Falling’s currency, and it’s all the richer for it.

Time Out London by Trevor Johnston

This dizzying, courageous, utterly humane and slightly unhinged film is a unique achievement.

The Telegraph by Mike McCahill

For all The Falling’s period trimmings, its uncanny power resides in these ellipses and blackouts – in elements that cannot be easily rationalised.

Variety by Guy Lodge

Morley marries a quasi-Victorian premise with a modernist technique that feels drawn from her film’s own milieu.

The Playlist by Oliver Lyttelton

Every time the picture opens a fascinating door, you're held back from going through by a naff filmmaking choice or a rote story move.

CineVue by Patrick Gamble

The Falling's refreshingly all-female perspective expects the viewer to become wholly caught up in its broad surge of feeling, yet there's something unsatisfactory and disaffecting about the film's asinine finale.

Empire

Carol Morley’s film has a lot going for it, not least a thick, vaporous atmosphere, alive with unease and sexual anxiety, and an eye-catching debut from the casually charismatic Florence Pugh.

Empire by Simon Crook

Carol Morley’s film has a lot going for it, not least a thick, vaporous atmosphere, alive with unease and sexual anxiety, and an eye-catching debut from the casually charismatic Florence Pugh.

Slant Magazine by Elise Nakhnikian

The film all leads to a melodramatic climax that wraps up the main character's explosive acting out in a too-neat package.