Sound of Metal
サウンド・オブ・メタル ~聞こえるということ~ (2019)

Basic Info / 基本情報

English

日本語

Director

Darius Marder / ダリウス・マーダー

Year

2019

Running Time

120 min (2h 0m)

Genre

Drama / ドラマ

Production

Ward Four, Caviar

Box Office

$1.0 million (Theatrical)

Synopsis / あらすじ

English Ruben is a heavy metal drummer whose life is defined by the visceral power of sound. When his hearing suddenly vanishes, his world collapses into a terrifying void. Desperate to “fix” his life, he enters a sober community for the deaf run by Joe, a man who believes deafness is not a brokenness to be repaired, but a culture to be embraced. Ruben must choose between a frantic, costly quest to regain his past or the daunting path of accepting a new, silent reality. Sound of Metal is a profound exploration of loss and the transcendent stillness that remains when the noise of the world finally fades away.

日本語 ルーベンは、音の衝撃を糧に生きるヘヴィメタルのドラマーです。しかし、突如訪れた失聴によって、彼の世界は恐怖の空白へと一変します。かつての自分を「修理」しようと足掻く彼は、ジョーという男が運営する聾者のコミュニティに身を寄せます。ジョーは「聾(ろう)は治すべき欠陥ではなく、受け入れるべきアイデンティティである」と説きますが、過去に固執するルーベンは葛藤し、高額な人工内耳手術を追い求めます。『サウンド・オブ・メタル』は、喪失の痛みと、世界の騒音が止んだ後にのみ訪れる「真の静寂」を描いた、魂の再生の物語です。

Cast & Crew / スタッフ・出演

Role

English

日本語

Director / 監督

Darius Marder

ダリウス・マーダー

Screenplay / 脚本

Darius Marder, Abraham Marder

ダリウス・マーダー、エイブラハム・マーダー

Story by

Darius Marder, Derek Cianfrance

ダリウス・マーダー、デレク・シアンフランス

Producer / プロデューサー

Bert Hamelinck, Sacha Ben Harroche

バート・ハメリンク、サシャ・ベン・ハロッシュ

Cinematography / 撮影

Charlotte Bruus Christensen

シャルロット・ブルース・クリステンセン

Music / 音楽

Abraham Marder

エイブラハム・マーダー

Editing / 編集

Mikkel E.G. Nielsen

ミッケル・E・G・ニールセン

Sound Design

Nicolas Becker

ニコラ・ベッケル

Distribution / 配給

Amazon Studios (US)

アマゾン・スタジオズ(米国)

Cast / 出演

Riz Ahmed (Ruben Stone)

リズ・アーメッド(ルーベン・ストーン)

Olivia Cooke (Lou)

オリヴィア・クック(ルー)

Paul Raci (Joe)

ポール・ラシ(ジョー)

Lauren Ridloff (Diane)

ローレン・リドロフ(ダイアン)

Mathieu Amalric (Richard)

マチュー・アマルリック(リシャール)

Chelsea Lee (Jessica)

チェルシー・リー(ジェシカ)

Additional Information / 追加情報

Awards / 受賞歴

  • 93rd Academy Awards (2021) – 6 nominations, 2 wins:
    • Best Film Editing – WON (Mikkel E.G. Nielsen)
    • Best Sound – WON (Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortés, Philip Bladh)
    • Best Picture – nomination
    • Best Actor – nomination (Riz Ahmed)
    • Best Supporting Actor – nomination (Paul Raci)
    • Best Original Screenplay – nomination (Darius Marder, Abraham Marder)
  • 78th Golden Globe Awards (2021) – 2 nominations:
    • Best Actor in a Motion Picture – Drama – nomination (Riz Ahmed)
    • Best Screenplay – nomination (Darius Marder, Abraham Marder)
  • 74th BAFTA Awards (2021) – 4 nominations:
    • Best Actor in a Leading Role – nomination (Riz Ahmed)
    • Best Actor in a Supporting Role – nomination (Paul Raci)
    • Best Original Screenplay – nomination
    • Best Editing – nomination
  • Screen Actors Guild Awards (2021) – 1 nomination:
    • Outstanding Performance by a Male Actor in a Leading Role – nomination (Riz Ahmed)
  • Independent Spirit Awards (2021) – 3 wins:
    • Best Feature – WON
    • Best Director – WON (Darius Marder)
    • Best Male Lead – WON (Riz Ahmed)

Critical Reception / 批評的評価

  • Rotten Tomatoes: 97% (Critics), 93% (Audience)
  • Metacritic: 97/100 (Universal Acclaim)
  • IMDb: 7.8/10
  • Eiga.com(映画.com): 3.9/5
  • Considered one of the finest films of 2020 and a landmark in cinema’s treatment of disability and identity
  • Riz Ahmed’s performance described as one of the great physical and psychological achievements in recent American cinema — a performance of extreme presence and controlled disintegration
  • Paul Raci — a hearing child of deaf parents, fluent in American Sign Language, and a Vietnam veteran — brought to the role an authority no actor without that background could have provided; his Oscar nomination was widely described as overdue recognition of an extraordinary career
  • The sound design by Nicolas Becker — the film’s true co-author — universally praised as a formal and technical revolution: the audience hears the film through Ruben’s ears, experiencing the progressive distortion and eventual silence of his auditory world
  • Charlotte Bruus Christensen’s cinematography praised for its physical intimacy and its sensitivity to the visual language of deaf space
  • Roger Ebert.com: ★★★★ “A film of devastating precision — Marder and Ahmed have made something genuinely new”
  • The New York Times: “An extraordinary film about loss, identity, and the silence inside the noise”
  • Variety: “Ahmed gives the performance of the year — a film that earns every one of its silences”
  • The Guardian: ★★★★★ “One of the most important films about disability in cinema history”
  • The Deaf community’s reception was nuanced: many praised the film’s portrayal of Deaf culture as community and identity rather than tragedy; some noted that Joe’s perspective — implants as betrayal of Deaf culture — represents one position within a genuinely divided community debate, not a universal consensus
  • The film’s depiction of cochlear implants was discussed extensively in audiology, otolaryngology, and disability studies — praised for accuracy about both what implants can and cannot deliver
  • Widely considered alongside Children of a Lesser God (1986) and The Sound and the Fury as defining films about deafness in American cinema
  • The final scene — Ruben removing his processors and sitting in silence — cited as one of the decade’s most profound endings

Box Office Performance / 興行成績

  • Format: Amazon Studios — streaming release with limited theatrical
  • Theatrical Gross: ~$1.0 million (very limited theatrical run, primarily festival)
  • Streaming: Amazon Prime Video (primary release platform)
  • Production Budget: ~$6 million (estimated)
  • Performance Analysis:
    • Released October 2020 during COVID-19 pandemic — theatrical release effectively impossible
    • Amazon’s streaming platform allowed the film to reach an audience far beyond what theatrical would have permitted
    • TIFF 2019 premiere built strong industry buzz over a year before wide release
    • Six Oscar nominations — including Best Picture — transformed its cultural profile
    • Riz Ahmed’s acting nominations drove significant streaming viewership
    • The film’s sound design Oscar win became a teaching moment: suddenly audiences understood why cinema sound matters
  • Streaming Impact:
    • One of Amazon’s most critically successful original films
    • The accessibility of streaming was, for a film about deafness and accessibility, particularly resonant
    • Amazon provided closed captions and audio descriptions — allowing both deaf and blind audiences to engage with the film
    • Introduced Darius Marder and Riz Ahmed to the broadest possible audience
  • Awards Season (Pandemic Year):
    • The 93rd Oscars (April 25, 2021) were postponed from their usual February date due to COVID-19
    • Sound of Metal competed against Nomadland (eventual Best Picture winner), The Father, Judas and the Black Messiah, and Promising Young Woman
    • Its two wins (Sound, Editing) were the most technically precise recognition of its most technically revolutionary achievements

Related Review / 関連レビュー

🔗 English Review
・[International Cochlear Implant Day] In Silenced World, What to Choose — Answer Found in Silence

🔗 日本語レビュー
・【国際人工内耳の日】聞こえなくなった世界で、何を選ぶのか——静寂の中に見つけた答え