Before cinema had sound it had music. In the silent film era, cinema wasn’t silent at all, in the contrary often there would be live music accompanying the screenings. Just like cinema, music is one of the few artforms that moves in time, making the two a perfect match, when brought together.

This semester’s program isn’t simply a cycle about soundtracks, scores and musicals, but rather one about films that place the musicians themselves at the center. This can be a deeply intimate portrait of one artist (Ryuichi Sakamoto: Coda) or a vast canvas of an entire culture (Latcho Drom). The films also show the deep link between politics and music, by using the music as backdrop for historical footage (Soundtrack to a Coup d’Etat) or creating provocative imagery based off the music (Pink Floyd: The Wall).

This theme also gives us the opportunity to explore cinematic contributions from all over the world. After all, music is the universal language. Here we have wonderful contributions from Japan (Inu-Oh), Azerbaijan (Ashik Kerib) and India (The Music Room). And we won’t just explore different countries but also different genres of music. Modulations and Interstella 5555’ encapsulate the history of techno music and Les Demoiselles de Rochefort represents the musical, which can’t possibly be absent in a cycle about music.

Finally, we have two iconic bands of cinema with Leningrad Cowboys Go America and our big finale The Blues Brothers, which stars musical legends like Aretha Franklin and Ray Charles in one of the most madly joyous celebrations of music ever put to screen.

Whether we turn the Stuz into a concert hall, a jazz bar, a techno club or a rock stage, each Tuesday night will be a party. I say let the music play and see you soon at Filmstelle!