From here, the movie goes into temporal free fall, intercutting vignettes from each period by slipping into the point of view of various young women. The movement rarely causes confusion — we usually know where we are — as much as it builds a texture of blurred memories and fluid chronology, of the future molding itself to the shape of the past and vice versa. Any movie with “sound” in the title is just about begging for you to take it as a listening experience, and within discrete scenes, the film uses ambient noise and sonic design to anchor us in time. The camera roves, but the buzz of farm flies or clanking of silverware insists on the present tense.