49. 25 Posts from Facebook

1

I have seen lots of arthouse films and consider myself to be quite adaptive to innovative styles, unconventional narrative structures, minimalisms, and so on. None of these films, however, has baffled me more than the enigmatic "Last Year at Marienbad", a film so sovereign in its form and technique that I have always described it as the best example of how far from traditional norms cinema can possibly develop. 

(28.07.2011)

2

Kirjuta paberile väikestes trükitähtedes sõna "club" selliselt, et c-täht ja b-tähe paun oleksid võimalikult ümarad ning l- ja b-tähe labad nii pikad, et kui nende tippude vahele kirjutada - mida ka tee - number 26, siis jääb u-täheni, mille võid tegelikult ka ära jätta, veel tükk tühja maad. Seejärel ühenda, kui vajalikuks pead, kõik lahtised otsad lähima punkti või joonega naabertähel ning küsi endalt, mida tekkinud kujutis sulle meenutab. Just sellise logoga meelitab kliente üks Lauteri tänava tervisekeskus! 

(29.10.2011)

3

Today on the bus an old man talking to a random passenger could not help wondering that a former KGB officer who had sent his brother to a Czechoslovakian prison for eighteen years and could not write without mistakes had become, after Estonia regained its independence, a priest. For him these two positions were separated from one another, on the axis of moral value, by a distance so remarkable that, in an exalted tone of voice, he emphasised this 'contradiction' more than once. I smiled at his simple-mindedness. 

(16.03.2012)

4

I am looking for books about the history of human sexual behaviour, that is, books about what people actually do when they have sex (and consequently, what acts are considered sexual), how they find their partners, from where, etc. etc, not metaphysical mumblings about sexuality (I hate that word) or overviews of the sexual habits of a particular subculture or of the people of a certain era (always too vague). Porn films are too unreal and are today's phenomenon, brothels are too exclusive (the madam couldn't help me much), the sexual experiences of one person are not comprehensive enough. Does anybody know any of such books? Or am I like Borges, describing books yet unwritten? 

(28.06.2012)

5

kaks paksu lesbit vahetavad minu kõrval pingil õrnusi üks kutsub end alfaemaseks kuigi sõnast alfaisane oleks ta võinud üle võtta pigem teise poole annan talle parema nime röhilesbi 

(03.07.2012)

6

Après avoir traversé toute la ville avec les drapeaux de la France (« À la recherche des Français perdus »), je me suis installé sur l'escalier d'un parc désert juste à côté de l'ancienne enceinte de Tallinn. Avec cette photo-ci je vous envoie, mes amis français, mes salutations les plus chaleureuses. Joyeuse fête du 14 Juillet ! Et vive la France ! 

(14.07.2012)

7

melancholy languor ennui nostalgia fatigue spleen lethargy disquiet tedium nausea malaise anguish angst

interesting that these beautiful-sounding words refer to the most horrible (because vague) psychological states in the world

the idea of sickness is bearable because it is linked with the idea of cure 

(14.08.2012)

8

I like it 

• when people use the subjunctive mood in English, 
• when they use the 'ne' expletif in French, 
• when, in French, they leave a space between the word and the punctuation sign that follows, 
• when Russians speaking Estonian use an adverb of manner right before the verb.

I am often confused

• when, in a French text, I see a verb in subjonctif imparfait (I always need some time to figure out how it is formed, and why this mood and this tense is used), and 
• when, in English adjectives derived from verbs, native speakers stress the third syllable from the end, and not the second (e.g., 'indicative').

I hate it 

• when people use the construction 'to be like + a quote' in English (lack of verbs in their vocabulary),
• when, in Estonian, they use both the conjunction 'et' and the interrogative word to introduce an indirect question ("küsisin, et miks ta..."). 

(11.11.2012)

9

eesti keeles on embus embuse embust aga tähendusega embamine võiks olla ka emme embe emmet huvitav kas sõnal ema emme on sellega mingi etümoloogiline seos 

(7.02.2013)

10

If I had done it in public, this would probably be called a performance. The total number of crisps is 63n+51, where n is the number of heaps. I deliberately did not count the heaps because the idea was to try my patience and clean my mind, not to find out how many crisps there were in the package. Whenever I thought there was a mistake in counting, I began anew. The windows were closed and all possible noises were turned off. I was hungry. It took me two and a half hours to count all the crisps. During that time I also checked the time twice, took these photos and, as it got dark, turned on the light. The next time I will do it with grains of rice. To prevent it from becoming interesting, I won't distribute them in heaps any more but will move them one by one from container to another. This experiment could be useful when you are upset and need to calm your nerves. But I am sure it is more useful when you have no reason to do it. 

(24.05.2013)

11

Sometimes I wish that my enthusiasm for certain things in life would fade away completely, that my desolation would be total, that the things I do to keep this desolation away would be rooted out of the world so that I could be, like the characters of this film, a pure being.

At 10 o'clock in the morning, unemployed middle-aged labourers have just woken up. Some of them are having their first cigarette of the day. I watch them with admiration, with envy even. Where are they going? What are they thinking of? How do they spend their days?

(On Uzak by Nuri Bilge Ceylan, 20.06.2013)

12

The greatest jokes are darker than dark, so dark that I am not sure any more if they are jokes at all, that even the teller himself doesn't know if he meant them as jokes or as interesting stories only, jokes at which I may laugh but not because they are funny, or rather, at which I try to skip the laughing part because I feel there is so much more into it than humour.

Yet, with all this, it is with the warmest, almost paternal feelings that I think of this film.

(On The Death of Mr. Lazarescu by Cristi Puiu, 21.06.2013)

13

I was watching this film out in the country at St John's Eve four years ago. My mother came by with one of her friends, who, seeing me in pyjamas on the living room floor, felt sorry for me and invited me to join them. I smiled and thanked her. They left.

This way I have also spent some of my Christmas Eves, New Year's Eves, even birthdays.

(On Russian Ark by Alexander Sokurov, 23.06.2013)

14

It is fashionable to say that one should never watch a film right after having read the novel on which it is based, or to quote Hitchcock, who said that only a mediocre book could be made into a good film. It is even more difficult with screen adaptations of good plays. It seems to me that many of the few directors who have ventured into this difficult undertaking have given up the attempt to translate the play into the cinematic language quite at the beginning. The resulting films remain intendedly theatrical; they can be seen as filmed versions of stage performances; sometimes they are only of mnemonic value, but they can also be real homages.

''Vanya on 42nd Street'' [by Louis Malle] is one the best examples of this kind of filmmaking: even though the less-theatre-more-film direction is clearly visible here, Chekhov remains Chekhov.

(24.06.2013)

15

Actually, ''Satantango'' is more than a film. Watching it is a performance. I want it to be shown at the Sõprus cinema at one night in one of the bleakest months of the year. I would like to film the audience during its entire run. If there would be no audience, I would film the empty cinema.

(On Sátántangó by Béla Tarr, 26.06.2013)

16

Deux bises à chacun de vous, mes chers amis français ! Trois bises à tous les garçons français que j'ai baisé (sauf ceux du sud de la France) ! Que la France vive ! Qu'elle fleurisse ! Vive la femme qui a parlé des passions littéraires de Fabrice Luchini à une conférence à Tallinn il y a quelques mois ! Vive la chanteuse qui a récité (« en français, bien sûr ») un poème de Victor Hugo pendant un concert nocturne au Rooftop Cinéma ! La fille corpulente avec un sourire timide dans la réception du Musée Marcel Proust à Illiers-Combray, je t'adore ! Benjamin, Baudelaire, tous les flâneurs parisiens et l'Ennui, c'est avec vous que je vais passer ce jour de grande solennité ( à la place d'agiter mes drapeaux de la France dans la rue ). Une pensée pour vous qui habitez dans un petit appartement à Saint-Germain-des-Prés et qui n'avez jamais de l'argent ! Et toi, mon bouquiniste fâcheux... 

(14.07.2013)

17

augustus died in 14 ad

this is almost two millennia ago

a long time

yet to form a continuous chain from that time to today less than thirty 70-year-old men are needed

try to picture thirty people forming a chain on a field

(10.08.2013)

18

4:35 pm binge sleeping

(15.01.2014)

19

In Dushanbe, 

• construction sites are everywhere, 
• Stalinist architecture flourishes, 
• most streets have no name (driving on them is called Tajik massage), 
• machines that look like ATMs are actually for cell phones, 
• pictures on walls are always slanting, 
• slim cigarettes are popular, 
• you're allowed to smoke indoors but can get fined if you do it out on the street, 
• bread tastes perfect, 
• instant coffee is preferred and people slurp it,
• hosts at restaurants shake your hand, 
• men, when dancing, move around women and constantly bend down as if trying to fix their dress, 
• there are only five or six guys on Grindr and Hornet (almost all the rest are in China), 
• people are very polite and, instead of ''mhmh'', ''OK'' or silence, verbally respond to everything I say, 
• I can have a long discussion on Rumi, Nizami and Omar Khayyam, and, if spent more time here, could even meet people who can recite the whole ''Masnavi'' by heart.

(23.02.2014)

20

There are many antique shops in my neighborhood. Lots of middle-aged middle-class couples from Northern Europe and the US; not so bored husbands. Lots of small coffee shops, with façades and interiors like those my Western friends like to photograph. My favourite restaurant only 30 meters away; the menu is oral, for 13 liras I get the most delicious chicken with coriander ever, and much more. Orhan Pamuk and the Museum of Innocence. Lots of fashionable people. Beards and strong calves. A terrace with a view on Hagia Sophia, the Sultan Ahmed Mosque and Gülhane Park. I have figured out where I can buy bread in the morning and fruit at night, where the closest tantuni place is, where I can get sunscreen (it is around 30°C every day, and I discovered I have sun allergy). Börek with meat; somebody said it is very Turkish to eat it at your front door in the morning. I have a doorman; he is always there somewhere, but I never see him. A local guy (probably a drug addict) who asks foreigners for one lira and when they say they don't have it accuses them of trying to trick on him. A transsexual bar next street. The loud music from the street that up to three million people pass every day occupies my room at nights, but when I go out there is more or less peace and quiet. Every day at around 11AM and 11PM a pss-pss-pss: a woman whose window opposites mine calls a cat. Construction workers interacting loudly, even now, at midnight. Phones ringing on the street; I often mistake them for a doorbell. Laughters and quarrels. A guy singing a melancholic song in vibrato. Three days ago, not far away, I saw a sheep on a small side street.

(In Çukurcuma, 15.07.2014)

21

You have arranged a meeting with someone for the first time. You have seen their photos but you don't know how they look like in real life. You are at the meeting place. You think you see them but you are not sure if it is them (at least you think you are not sure). You pretend that you haven't recognised them while hoping they will come to you first. They won't. You will need a few minutes to gather yourself. Then, more confident, you will go to them. After that, if it's them, things will be easy.

Should these few minutes of pretense be seen as a problem?

(Let's forget, for a moment, that they are just as responsible for the outcome of this situation as you are. This is about YOUR behaviour.)

They should, because, first, even if you're not sure if it's them, you are lying or inhibiting yourself, and, secondly, they might start thinking that you don't like them, that you're trying to win time to get out of this situation. Your behaviour could strike their pride. They would take these few minutes of inaction as a personal offense, or at least as a lack of interest, and they would probably not forgive you.

They should not, because timidity and nervousness are very common when meeting new people, even if you meet new people all the time. Yes, there is something disturbing about your temporary indecisiveness, but they should forgive you because addressing a stranger is never easy.

Is it a problem when

1. they see your behaviour as a problem (they are too soft, too proud, insecure)?
2. they don't see your behaviour as a problem (they are too indifferent to defend their honour)?
3. you see your behaviour as a problem (you have inner conflicts)?
4. you don't see your behaviour as a problem (you are cold, egoistic, with bad manners)?

Which is the biggest sin?

(04.08.2014)

22

Today I went to Bostancı not because I wanted to see or do something there but because I always thought that the name Bostancı sounded beautiful

Proust, «Noms de pays : le nom»

Nâzım Hikmet Ran, the greatest Turkish poet of the 20th century, spent the 1961/1962 New Year's Eve in Tallinn and wrote a poem about the New Year tree there and about a woman called Marina dying in Moscow

Ma ei tea, kuidas on näärid inglise keeles.

Eesti keelde tõlkinud Ain Kaalep, kogumikus "See punane õun" (1965), "Yılbaşı Ağacı" in Turkish

(01.09.2014)

23

In this beautiful Sufi-influenced poem by the 16th-century Spanish Catholic mystic St John of the Cross, the soul/the lover goes out on a dark night to find union with God/the beloved. This poem (or at least its English translation in the musical adaptation by Loreena McKennitt) could also be interpreted, from the first to the last line, as a night-time cruising adventure of someone.

• "Upon a darkened night / The flame of love was burning in my breast" = appetite for sex
• "Shrouded by the night / And by the secret stair I quickly fled / The veil concealed my eyes" // "In secrecy, beyond such mortal sight" // "Oh night thou was my guide / Of night more loving than the rising sun" = what should be kept in secret offers more pleasure
• "Without a guide or light / Than that which burned so deeply in my heart" = a hungry body knows where to go
• "That fire t'was led me on /.../ To where he waited still / It was a place where no one else could come" = a club, a park, or a place where someone's always waiting
• "Oh night that joined the lover / To the beloved one / Transforming each of them into the other" // "Beneath the cedars all my love I gave" = the act
• "I lost myself to him / And laid my face upon my lover's breast" = orgasm
• "And care and grief grew dim / As in the morning's mist became the light / There they dimmed amongst the lilies fair (3x)" = post-orgasm

(On ''Dark Night of the Soul'', 04.12.2014)

24

There is always a tint of displeasure when I listen to music.

Many years ago you didn't listen to music at all, you even said that you didn't like music, and I thought that you were senseless, literally, that you lived your life with a vital organ having been amputated.

I have the same organ of mine in my hands now. I don't want to throw it away, but I don't know where to put it.

They often say that music is the most sublime of the arts, that its non-existence would be a bigger loss for us than that of literature, theatre or sculpture.

I always think for some seconds when I enter the name of a performer in YouTube search. I usually search for the one that I listened to a day or week before. And the same few songs.

Songs. I cannot listen to most of them – irrespective of their genre or quality – for more than three times. They are short. They may contain the whole world in three minutes, but what are they next to the love that slowly builds itself on an active long-time commitment? (The advantage of thousand-page novels and three-hour films!)

I can only listen to classical or experimental music on a daily basis when I do it systematically, when I learn about a composer, a period or a style. Pleasure from learning rather than from listening. (Again, the time factor.)

Music as a social form of art. I like the type of performing musicians the least and the type of novelists, translators and philosophers the most. I don't go to concerts very often because there the whole room is full of people that like the same music as I do.

I prefer natural and technological sounds to composed music. Wearing earphones out on the street equals imprisonment.

Sometimes I listen to films.

When you ask what kind of music I like, I answer, silence. When I really have to specify a genre, I answer, folk music.

Folk music is not world music. The latter is a rather uniform and thus boring popular genre. A genre for tourists, not for travellers.

The biggest commonality for the different types of music that I listen to: the places and the times where they bring me. Personal memories and collective psyche. Geography and history were my favourite subjects at school in my formative years.

I like music for what it is not.

(06.05.2015)

25

I am at a café where a lot of university people are having their breakfast. A man comes, greets in English a girl he seems to know, and then, either because their level of acquaintance is poor or because her Estonianness becomes apparent - she responds politely but then shuts off and goes on writing something -, sits at a table next to hers.

I wonder how he will leave the café. What will he say to her? Will he say anything at all? What gestures will he use? Will she reciprocate as before? Will she show any initiative as well? Will I witness his leaving? A shudder runs through me when I think of his leaving. Where should I go to not witness his leaving?

I know that it will be to no avail. All these questions are meaningless, because even though I don't know what he will say and how she will respond (althought it is not difficult to guess), he will leave anyway. His future act of leaving cancels all the details, all the motivations for it. I am paralyzed by this imminence, and this paralysis is total, making everything even remotely probable seem unavoidable, underlining the absolute unavoidability of my own death and the end of all things.

He leaves the way I thought he would. I am alive.

(It appears to me that she, too, could have left first. The consequences of that leaving would have been cosmic.)

(03.08.2015)

41. Encyclopedia of Film Music

Some silent film scores

George Antheil's score for Ballet mécanique (here) is the greatest piece of music composed for a silent film.

Symphonie diagonale is a visual music film and should be watched in silence. If not, Olga Neuwirth's 2007 score (here) is great.

I like my Potemkin with Shostakovich (here). 

Classical music in cinema

Tarkovsky adored Bach and used his music extensively in his films. Notable examples include Ich ruf' zu dir, Herr Jesu Christ as the theme of Solaris (with Eduard Artemyev;  here), the opening chorus of the St John Passion at the end of The Mirror (here), and  the Erbarme dich aria from the St Matthew Passion in The Sacrifice (here)

My favourite Bach in cinema is, however, The Tree of Wooden Clogs, especially because it relies heavily on the Largo movement of the Harpsichord Concerto No. 5 in F minor (here).

Bach's Sarabande from Suite No. 2 in D minor for Cello features in Through a Glass Darkly (here).

In his later films, Bergman prefers Chopin:  Mazurka No. 4 in A minor, Op. 17 at the end of Cries and Whispers (here), the ''Presentiment of Death'' prelude in Autumn Sonata  (here), and the funeral march in Fanny and Alexander  (here).

Chopin's Nocturne in C-sharp minor in The Pianist (here), of course 

The Piano Teacher heavily features Schubert's music, for example, ''Im Dorfe'' of  Winterreise (here) and the second movement of Piano Trio No. 2 in E-flat major (Isabelle Huppert going to a video booth at a sex shop in a Viennese shopping mall; here).

The Andantino movement of Schubert's Piano Sonata No. 20 in A minor in the closing scene of Au hasard Balthazar (here)

The Rheingold prelude in Werner Herzog's version of Nosferatu (here) is my favourite Wagner in cinema. Also: the Ride of the Valkyries in Apocalypse Now (here), naturally, and the prelude of Tristan und Isolde in Melancholia  (here). 

Händel's ''Lascia ch'io pianga'' in the prologue of Antichrist (here)

The second movement of Schumann's Piano Quintet in E-flat major at the beginning of Fanny and Alexander (here) 

Albinoni's Adagio in G minor in The Trial (here)

The Adagietto of Mahler's fifth symphony in Death in Venice, in the closing sequence (here)

The Intermezzo from Cavalleria rusticana by Mascagni in Raging Bull (here)

I don't remember what film it was that juxtaposed images of a modern urban environment and the first Gnossienne of Satie (here) and managed to impress so much that even now, on my way home from a sexdate late at night, I sometimes listen to this composition. 

The Scent of Green Papaya is the best film featuring Debussy's ''Clair de lune'' (here). 

A segment from Monteverdi's Magnificat in the final scene of Mouchette (here)

''Veris Leta Facies'' from Carmina Burana by Orff in Salò (here)

Singing in films

In The Blue Angel, Marlene Dietrich sings ''Ich bin von Kopf bis Fuß auf Liebe eingestellt'' (here). Later, in The Damned, Helmut Berger impersonates her in a drag show (''Kinder, heut' abend da such ich mir was aus''; here) and, in The Night Porter, Charlotte Rampling, topless, sings her ''Wenn ich mir was wünschen dürfte'' (here). 

Jeanne Moreau sings ''Le Tourbillon de la vie'' in Jules and Jim (here) and ''Each Man Kills the Thing He Loves'' in Querelle (here). 

In Pierrot le fou, Anna Karina sings ''Jamais je ne t'ai dit que je t'aimerai toujours'' (here) and, with Jean-Paul Belmondo, ''Ma ligne de chance'' (here). 

''Framboise'' by Boby Lapointe in Shoot the Piano Player (here)

Nashville is full of good music:  ''My Idaho Home'' (here) and many other songs by Ronee Blakley, ''I'm Easy'' by Keith Carradine (here), and ''It Don't Worry Me'' by Barbara Harris (here). 

''Die Wacht am Rhein'' versus ''La Marseillaise'' in Casablanca (here)

''Gondola no Uta'' by Takashi Shimura in Ikiru (here)

The songs of Dancer in the Dark, especially ''Cvalda'' by Björk and Catherine Deneuve (here)

Big Edie singing ''Tea for Two'' in Grey Gardens (here)

''Cucurrucucú Paloma'' by Caetano Veloso in Talk to Her (here)

''En motorcykel vill jag ha'' at the beginning of You, the Living (here)

The Gypsy musicians in Who's Singin' Over There? (here)

A singer or a band defining the soundtrack

Leonard Cohen and McCabe & Mrs. Miller: ''The Stranger Song'' (here), ''Sisters of Mercy'' (here), and ''Winter Lady'' (here)

Simon and Garfunkel and The Graduate: ''Mrs. Robinson'' (here), ''The Sound of Silence'' (here), ''Scarborough Fair'' (here), and ''April Come She Will'' (here)

Neil Young and Dead Man (here)

David Bowie and Christiane F. - We Children from Bahnhof Zoo (here)

I would also add here the soundtrack of Zabriskie Point by Pink Floyd (here) and Jerry Garcia (here). 

And ''The End'' of The Doors in Apocalypse Now (here).

Theme songs

Bobby Vinton's ''Blue Velvet'' (here) and Roy Orbison's ''In Dreams'' (here) in Blue Velvet

Harry Nilsson's ''Everybody's Talkin''' in Midnight Cowboy (here)

''Cuore matto'' in Bad Education (here)

''Te-aud mereu'' by Angela Similea and Cornel Constantiniu in 4 Months, 3 Weeks and  2 Days (here) and ''Liu Lien'' by Yao Lee in Goodbye, Dragon Inn  (here) - the greatest closing titles

''L'eclisse Twist'' by Mina (here)

''Girl, You'll Be a Woman Soon'' by Urge Overkill in Pulp Fiction (here)

''Coming'' by Jimmy Somerville in Orlando (here)

Scenes with a memorable musical accompaniment

The wedding scenes in The Scarlet Empress (here) and Shadows of Forgotten Ancestors  (here)

The closing sequence of Spring, Summer, Fall, Winter... and Spring (here)

The Vinteuil Sonata in Time Regained (here)

Odetta singing ''Sometimes I Feel Like a Motherless Child'' in the scene depicting  the arrival of the Magi in The Gospel According to St. Matthew (here)

The psychedelic party in Midnight Cowboy (''Old Man Willow'' by Elephant's Memory;  here)

The background music in the closing sequence of 4 Months, 3 Weeks and 2 Days (''Si m-am indragostit de tine'' by Adrian Daminescu; here)

Regular collaborations

Bernard Herrmann and Alfred Hitchcock. Vertigo's theme (here) is one of the two phone tunes I have ever had, but my favourite is the score of North by Northwest (here).

One cannot forget Herrmann's score for Scorsese's Taxi Driver (here), of course.

Ennio Morricone and Sergio Leone. It was in the darkest moments of my life that I often listened to the main theme of Once Upon a Time in the West (here). "Man with the Harmonica" (here). The score of The Good, the Bad and the Ugly (here) is unsurpassable.

Also Morricone's music for Pontecorvo's The Battle of Algiers (here) and for Pasolini's  Salò (here).

Nino Rota and Federico Fellini. The score of Satyricon (here) is the greatest, but I also love that of 8 1/2 (here).

Eduard Artemyev and Andrei Tarkovsky. Especially the theme of Stalker (here). Entry to the Zone in Stalker (here).

In Ivan's Childhood and Andrei Rublev, Tarkovsky worked with Vyacheslav Ovchinnikov. See the skomorokh sequence (here), the crucifiction scene (here), and the ending (here) of Andrei Rublev.

For Artemyev, check also Konchalovsky's Siberiade (here).

Zbigniew Preisner and Krsysztof Kieślowski. The themes of The Decalogue I (here) and A Short Film about Love (here), Van den Budenmayer's Concerto in E minor in The Double Life of Veronique (here), ''Song for the Unification of Europe'' in Three Colours: Blue  (here), the bolero of Three Colours: Red (here), and many more.

Eleni Karaindrou and Theo Angelopoulos. Ulysses' Gaze (here  and here), Eternity and a Day (here), and  The Weeping Meadow (here), but also many others. 

Mihály Víg and Béla Tarr. ''Valuska'' (here) and ''Old'' (here) in Werckmeister Harmonies  and the theme of  The Turin Horse (here)

Angelo Badalamenti and David Lynch. After Twin Peaks, the score of Mulholland Drive is probably the best, the ''Love Theme'' (here) and ''Diane and Camilla's Theme'' (here), in particular. 

Also ''Polish Poem'' (here) by Chrysta Bell and ''Ghost of Love'' (here) from Inland Empire,  without Badalamenti. 

Ravi Shankar's music in the Apu Trilogy of Satyajit Ray (here)

Popol Vuh and Werner Herzog. The opening scene of Aguirre, the Wrath of God (here), long segments of Heart of Glass (here)

Peer Raben and Rainer Werner Fassbinder. Berlin Alexanderplatz (here)

Goran Bregović and Emir Kusturica. ''Ederlezi'' in Time of the Gypsies (here) and Underground (here). See also ''Bubamara'' in Black Cat, White Cat (here).

Krzysztof Komeda and Roman Polanski. Knife in the Water (here)

Other soundtracks

How could I have forgotten the trumpet of Chinatown (Jerry Goldsmith; here)?

Jeanne Moreau walking to the trumpet of Miles Davis in Elevator to the Gallows  (here)

Andrzej Trzaskowski and Wanda Warska in Jerzy Kawalerowicz's Night Train  (here)

''Yumeji's Theme'' by Shigeru Umebayashi in In The Mood for Love (here)

Music by Senji Ito in Late Spring (here) and by Kojun Saito in Tokyo Story (here) 

My favourites by Georges Delerue are Contempt (here), of course, Jules and Jim (here) and The Conformist (here).

Antoine Duhamel and Pierrot le fou (here) 

Gato Barbieri and Last Tango in Paris (here)

''Lara's Theme'' of Doctor Zhivago (here) and the score of The Damned (here) by Maurice Jarre

Carlos d'Alessio and India Song (here)

Michael Nyman and The Piano (here)

Philip Glass and The Hours (here), especially ''Morning Passages'' (here)

Stefan Nilsson and The Best Intentions (here)

Hilmar Örn Hilmarsson and Children of Nature (here) 

Isaac Schwartz and Dersu Uzala (here)

''Gloria'' from Missa Luba in The Gospel According to St. Matthew (here)

Films that could also be listened only

Giovanni Fusco and Michelangelo Antonioni. My favourite director-composer collaboration. Themes, like the opening of L'avventura (here), but more importantly, elaborate and suggestive soundtracks that have made me adore non-musical sound: the final sequence of L'eclisse (here) and the beach sequence of Red Desert (here).

The musical composition of Fusco and Delerue together with the poetic dialogue of Marguerite Duras at the beginning of Hiroshima mon amour (here)

Last Year at Marienbad as piece of music (here)

Edie Sedgwick's monologues of the Ciao! Manhattan tapes (here) are very musical. 

The opening of Still Life (here)

The whole Flowers of Shanghai (here)