"Chaney's feature directorial debut is a terrific showcase for how the alchemical qualities of sound design and composition can deepen a film's atmosphere; as the couple's unease and befuddlement is amplified by unexplainable events, Reznick's sound design-intertwined so deeply with Lucrecia Dalt's musical score that the two often feel inextricable-grows increasingly hallucinogenic. Located between bucolic nature sounds and metallic drone ambience, with the couple's analog tape machines capturing both even as they become progressively degraded and distorted,"
"When Darcy (Dev Patel) and Daphne Davenport (Rosy McEwen) move to a remote house in rural Wales, they seek to draw sounds out of the local landscape, with Daphne interpolating and manipulating Darcy's field recordings to create experimental compositions marrying electronic distortion effects to more organic sounds from their surroundings. But the music they make after recording strange and very potentially mystical vibrations in a nearby forest awakens local ancient folk magic and the couple suddenly discover a nameless child (Jade Croot) on their doorstep."
"What does the sublime sound like? For Graham Reznick, serving as the sound designer for Bryn Chaney's psychological thriller Rabbit Trap (available on digital Sept. 30, from Magnolia Pictures) was a sustained exercise in experimenting with aural narrative storytelling, searching for the same sorts of subliminally haunting sound effects that alternately entrance and unsettle the film's musician protagonists. When Darcy (Dev Patel) and Daphne Davenport (Rosy McEwen) move to a remote house in rural Wales,"
Rabbit Trap follows musicians Darcy and Daphne Davenport as they relocate to rural Wales to capture field recordings and create experimental compositions that blend electronic distortion with organic sounds. Their recordings of strange, possibly mystical forest vibrations trigger ancient local folk magic and the appearance of a nameless child who gradually infiltrates and resists their attempts to free themselves. Sound designer Graham Reznick and composer Lucrecia Dalt interweave sound design and score, using analog tape degradation, metallic drones, and bucolic nature textures to produce hallucinatory atmospheres. The film presents sound as an alchemical, destabilizing force that can assume agency and alter perception.
Read at Filmmaker Magazine
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