Some echoes never fade—and some were never meant to be heard. In The Sound (2025), silence is no longer safety, and what lurks beneath the quiet might be louder than death itself.
Rose Halden (Florence Pugh), an acclaimed acoustic engineer turned recluse, is called to investigate strange frequencies coming from a decommissioned subway station beneath Montreal. What begins as a routine sound-mapping assignment soon spirals into a nightmare of paranoia, memory, and dissonant truth. The deeper she descends, the less she can trust her senses—and the more the sound seems to know her.
As Rose uncovers decades-old experiments involving psychological warfare and sonic manipulation, the boundaries between noise and thought, hallucination and reality begin to collapse. With the help of an underground journalist chasing the same trail, she realizes the signal isn’t just being broadcast—it’s listening back.
Haunted by trauma and driven by a need for clarity, Rose must navigate the echoes of the past, both personal and collective, before the sound consumes her entirely. Because in this labyrinth of tunnels, the real terror isn’t what you hear—it’s what you can’t shut out.
Directed with chilling restraint and audial brilliance, The Sound is a slow-burning psychological thriller that turns perception into a weapon. Minimalist in scope but maximal in tension, it asks one terrifying question:
What if the silence we seek is hiding something that never stopped screaming?
