The Sparrow in the Chimney (2025)

-Written by Kyle Bain.

As family comes together for a celebration, tensions rise, truths come out, and what once appeared to be a loving family proves to be anything but. The Sparrow in the Chimney explores the wedges forced between loved ones, the effects of the distance between them, and the harrowing reality that not everything is as it seems. 

The intensity is apparent from the opening moments, and that heaviness extends itself throughout the entirety of The Sparrow in the Chimney. Sometimes void of a score, these characters are left to their own devices in those moments, and the chemistry that exists among this ensemble cast is exceptional, almost tangible. 

Let’s quickly revisit that bit about the score (or what was as lack thereof). As The Sparrow in the Chimney progresses, a masterful electronic score is introduced, and it fills the screen. It often becomes all encompassing, creating a sense of urgency that consumes viewers–but more importantly, the characters. The vibrant electronic score is often repetitive, representing that repetitive nature of nearly every character present throughout the course of The Sparrow in the Chimney. It’s a drastic shift from quiet to aggressive electronic tones, but each instance works in its own way and helps to carry this film forward in just the right way. 

An intense, visceral ride is The Sparrow in the Chimney, and that intensity has the ability to reach out and grab ahold of viewers. It effectively chokes them with emotion and reminds them of each and every one of the horrific things that exists in the world around us. The harsh, almost debilitating tone that extends itself throughout the entirety of the film is somehow welcome, entertaining, and even enjoyable. I often found myself entranced in the darkness that plagues this family and fills them with hate. The Sparrow in the Chimney welcomes viewers in such an ironic way, and there’s something quite entertaining and enchanting about this fact. 

Furthermore, Writer-Director Ramon Zürcher finds unique ways to reach viewers. The aforementioned score (and the lack thereof), the ensuing chaos, and the seemingly never ending onslaught of darkness enveloping this family–all things that could (and sometimes should) repel viewers–does just the opposite. Zürcher’s direction is entrancing, and the series of decisions that he makes throughout lend themselves to a film that manages to remain grounded, even when the narrative sometimes feels otherworldly, magically real, or altogether overbearing. The Sparrow in the Chimney ultimately rests on the shoulders of this ensemble cast, but with reins firmly planted in Zürcher’s hands, it seems that there’s little that could have gone wrong with this production. 

With all of that said, it would be unfair to omit the one thing that I found troublesome regarding The Sparrow in the Chimney, and that’s the length. At nearly two hours, I felt that some scenes would have been better left on the cutting room floor, trimmed down to a more concise length rather than allowing them to play out in ways that sometimes felt tedious and unnecessary. However, The Sparrow in the Chimney depends on the continued development of suspense and intensity, and while I do believe that Zürcher could have achieved those things while shortening his film, I understand the reasoning behind his decisions. 

The Sparrow in the Chimney is a film that I was somewhat reluctant to turn on. It’s a foreign film, there’s clearly a lot going on (even only after having read the brief synopsis that I was provided), and it ultimately seemed like a film that people would enjoy, but that I would struggle to appreciate. This just goes to show you that sometimes it’s important to take the plunge and try new things. The Sparrow in the Chimney was masterful in nearly all aspects, and Zürcher employs a series of incredibly talented actors, while making exceptional decisions along the way. All of this leads to a gut wrenching odyssey. 

Written & Directed by Ramon Zürcher.

Starring Maren Eggert, Britta Hammelstein, Luise Heyer, Lea Zo Voss, Ilja Bultmann, etc. 

8.5/10 = WORTH RENTING OR BUYING