Falling into Place Review

Falling into Place feels very much like a ion project for Aylin Tezel. The German actress is the writer, director, and leading lady of this London-based romantic drama, which, although touching, echoes well-played-out sentiments of many films before it.

Tezel plays Kira, a lonesome thirtysomething who, whilst visiting Scotland’s Skye Island, has a chance encounter with Ian (Chris Fulton). The latter is on the island for an awkward family reunion. A meet-cute in the pub sets the foundation for a brief but poignant bond before the two return home to other sides of London. Both lead separate, flawed lives in the capital, leaving us to wonder if they’ll ever find each other again. It’s two broken people seeking to fix themselves to be right for each other.

What follows is essentially a series of familiar tropes that document Kira and Ian’s rather bitter and loveless lives. They’re acted out well enough, but perhaps not written or directed with the same fervour. Tezel plays Kira with a subtle yet ardent commitment, as does Fulton, but the characters feel a little too recognisable to strike a new chord. Various set pieces across the film’s nearly two-hour runtime showcase this. Kira and Ian’s whole “so close yet so far” cliché adds little, going from compelling to eye-rolling as the film progresses. Such notes are painfully reminiscent of similar, likely better, European films of this era.

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It’s perhaps a sign of inexperience on Tezel’s part: Falling into Place is her directorial debut, after all. With its reliance on easy narrative devices and a more intimate plot, it’s not hard to tell this is a relatively new filmmaker. The place in which Tezel shines most is on-screen, where most of her skills are best applied.

This is not to say she has failed as a director. With a keen eye behind the camera, the film is certainly a visual masterclass. Expert close-up shots give us a fragmented insight into these characters, reflective of their understanding of each other. Shots of It’s a touch of genius, excellent visual storytelling, and a superb example to add to Tezel’s highlight reel. Cinematographer Julian Krubasik likely played a substantial part in this, too.

Glimpses of potential across Falling into Place generate enough enthusiasm for following projects. Many filmmakers must find their footing in the earlier stages of their careers, and we are witnessing Tezel’s. Falling into Place is derivative, somewhat bland, but at the very least, it is captured wonderfully.