Köln75 will be released in France on June 25 under the title “In the Rhythm of Vera:   The Background of a Legendary Concert.” The first review has just appeared in La 7e bobine:

With ‘Au rythme de Vera,’ Ido Fluk weaves a mirrored narrative where two forms of determination intersect: that of a musician seeking redemption in the face of pain – and that of a young producer willing to challenge the conventions of an essentially male-dominated industry.

From the opening scenes, the director establishes a visual dialogue between the closed, cold universe of Berlin, in which Vera Brandes moves, and the nocturnal odyssey of Keith Jarrett, a pianist trapped in his own body. This juxtaposition creates a constant tension: on one side, the suffocating warmth of familial and societal expectations that weigh on Vera; on the other, the cold solitude of artistic isolation in which Jarrett struggles to express his art despite the pain.

At the center of this twofold narrative, Vera and Jarrett embody two sides of the same struggle: the quest for authenticity. Fluk avoids a hagiographic portrait by allowing both characters to show their darker sides: Vera, torn between the desire for freedom and the burden of paternal authority that prevents her from claiming her place; Jarrett, wavering between creative ecstasy and physical collapse – as if each note costs him a piece of his existence. The camera, often still, lingers on telling details: the harsh light piercing through the shutters of Vera’s family apartment; Jarrett’s trembling hands on the piano keys; or Berlin’s nocturnal reflection on the water’s surface – a symbol of the fine line between hope and disillusionment.

Mala Emde conveys Vera Brandes’s inner turmoil – strong and vulnerable at once, ready to risk everything to realize her vision of a legendary concert, and yet aware that she must first break free from the constant judgment of the male gaze. You can feel the suppressed rage in every word she speaks, the burning determination in every step she takes. John Magaro, on the other hand, portrays a more inward-facing Jarrett: his silence, his distant stares between takes reflect the inner conflict of a man whose body betrays his creative spirit. The scenes of him rehearsing in pain stand in stark contrast to those moments when his playing reaches nearly mystical heights – this constant oscillation between ecstasy and breakdown makes his portrait so moving.

The film’s editing, alternating between long takes and accelerated sequences, reinforces the idea that music acts as a motor of life: as Vera decides to produce the concert, the camera gradually opens up – from oppressive close-ups to wider shots that visualize her desire to break free from constraints. Conversely, Jarrett’s scenes are often shot at night and in isolated locations – a visual representation of his internal withdrawal. Backlighting plays a central role: the bright light on Vera constantly reminds us of the oppression she faces, while the light-dark contrasts around Jarrett embody his invisible struggle with pain.

More than a simple musical biopic, ‘Au rythme de Vera’ questions the notion of power: who is allowed to attain excellence? Who has the right to tell a story? By placing Vera and Jarrett on the same dramatic level, Fluk shows that – whether musically or socially – the path to excellence is built on similar sacrifices. Vera’s father, a relentless figure of authority, represents the antithesis of this ideal: he wants to silence her, to reduce her ambitions to a supporting role. Jarrett experiences the same resistance – but it is his body that opposes him. In both cases, music becomes both a weapon and a refuge: a weapon against oppression, a refuge from pain.

The final sequence, in which Vera attends the concert Jarrett performs following her successful production, is an emotional climax. As the audience holds its breath, the camera lingers on Vera’s face, filled with admiration, pride, and liberation. Jarrett, meanwhile, appears momentarily freed from his torment – each note sounding like a triumph over pain. This symbolic convergence underscores the power of storytelling that, between the lines, celebrates female emancipation and ultimate artistic redemption.

In the end, Ido Fluk succeeds in creating a film whose narrative simplicity is carried by immense emotional force. By juxtaposing two life paths divided by everything except the will to overcome boundaries, he crafts a universal portrait – one of people who dare to break through barriers, whether against pain, authority, or societal roles. ‘Au rythme de Vera’ reminds us that music – beyond all notes – is a call to freedom: the freedom to create, to dream, and to assert oneself in a world that often refuses to listen.

‘Au rythme de Vera’ – Written and directed by Ido Fluk – French release date: June 25, 2025

Rating: 5/5

Au rythme de Vera: les dessous d’un concert mythique

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“_{Ciné Télé & Co}” writes:

In the Rhythm of Vera: 6 Secrets of the Filming

1 – The Origin

When New York director Ido Fluk discovered the story of Vera Brandes and the Cologne concert in a magazine article, he saw “an opportunity to tell a story about music in a different way. I didn’t want to make a film about jazz. I wanted to make a film that embodies jazz.” He aimed to tell the story of the Köln Concert through Vera Brandes and not through Keith Jarrett. “Most music films focus on the artists,” the director warns. “But in my opinion, the most exciting stories are often those of the people behind the scenes. ‘Au rythme de Vera’ is a film about a producer. About the woman who pulls the strings behind the scenes and handles crises. Because if she doesn’t, the magic doesn’t work. That’s exactly what intrigued me. I wanted to tell this woman’s story and, through her, talk about artistic creation and its meaning.”

Ido Fluk then contacted his mentor and production partner Oren Moverman. Moverman introduced him to Sol Bondy and Fred Burle of the Berlin-based production company One Two Films. The project was born.

2 – “Finally!”

That was Vera Brandes’s exclamation when producer Sol Bondy introduced her to the film project in which she plays the lead role: “Finally!”

“I immediately sensed how intense this moment was for her,” recalls Sol Bondy. “She opened up right away and hasn’t stopped since. She became our anchor, our unwavering ally.” Vera Brandes quickly connected with director Ido Fluk. “She had waited years for someone to tell her story,” he explains. “Even in our first conversations, it quickly became clear that her life journey would make a great film. I wanted to do her justice and highlight her pivotal role in that historic concert. That is very important to me. When people talk about the concert on January 24, 1975, at the Cologne Opera, Vera is too often forgotten. It’s as if she was erased from history. So we took that injustice as our starting point: to correct the story. Because without Vera Brandes, this concert would never have happened.”

Ido Fluk and Vera Brandes spoke for eight hours over Skype, during which she shared every detail of the events of the early 1970s. These conversations served as the basis for the screenplay. “It’s her story, her perspective—entirely,” summarizes Fred Burle. Hence the note at the beginning of the film: “KÖLN 75 – as told by Vera Brandes personally.”

3 – A Polite but Firm Rejection

Keith Jarrett and Manfred Eicher

When the producers contacted Keith Jarrett’s team, they declined to participate in the film. “The response came promptly,” reports Sol Bondy. Polite, but firm: “Sorry, but no, it’s not possible.”

“I had heard several anecdotes about Keith Jarrett,” continues Ido Fluk. “And you can sense in the film that he’s not exactly the easiest person to deal with. Keith doesn’t like this concert. And to be honest, I agree with him. But I think—and here we differ—that there’s a reason this particular concert became part of pop culture.”

ECM Records, the publisher and rights holder of the recording, also declined. So Ido Fluk made a film about the Cologne concert without being able to use the music.

“Strangely enough, that didn’t discourage us,” says Sol Bondy. “On the contrary, it even strengthened our decision to place Vera Brandes at the center of the film. Keith Jarrett is an important figure, but the true heroine is Vera—what she experienced from the early 1970s up to the peak with The Köln Concert. From the very beginning, she was the inspiration for us to make this film.”

4 – The Essential Casting for Vera

Mala Emde

Casting the role of Vera Brandes was crucial. “We needed a fearless young woman who could carry the film,” explains Ido Fluk. “I wasn’t familiar with the young German scene, so I watched everything Sol and Fred recommended. We reviewed countless applications. But to be honest, I very quickly had the feeling she was the one. She exudes extraordinary energy and intensity. When she enters a room, you immediately feel the atmosphere change. You immediately know you’re dealing with a star, a lioness. I didn’t give her the role—she claimed it.”

“During casting, I kept saying: ‘I’m not looking for an actress, I’m looking for a partner.’ Someone to make this film with me, not for me. We talked at length, and Mala was that ideal partner. She saw the same film I did. Our collaboration was fantastic. We worked together on the scenes and the script, and she was always involved. I told her: ‘This is not my film, it’s yours. You are Vera. You’re holding the reins.’”

5 – Recreating the 1975 Setting

Łódź, Poland

The most difficult task was finding a filming location that could represent the Cologne Opera, where key scenes take place. The actual Cologne Opera was unavailable due to years of renovation. As most historic opera houses are protected landmarks, their sets have barely changed in fifty years. So it wasn’t the stage itself that was hard to find – it was the surroundings. “Every door, every window, every cable… nothing looked like the 1970s,” recalls Sol Bondy. For Ido, it was essential to move the camera freely throughout the entire opera space: from backstage to the stage and back. Unity of time and place was meant to heighten the tension as the concert approached.

The team continued searching for locations, even considering building a set in Germany’s Babelsberg Studios. Without success. The production then extended its search abroad and chose a historic theater in Łódź, Poland. “We had agreed to rehearse on-site for two weeks and then shoot for another two weeks,” says Sol Burle. “Unfortunately, nothing went as planned. The situation strangely mirrored the film’s story: we had to improvise constantly.” Each day, they had to reassess possibilities: filming on stage, on the stairs, or backstage. “It was a constant challenge. We had to make a new shooting schedule every day. It was exhausting but also incredibly inspiring. These constraints really bonded us as a team.”

6 – The Legendary Concert

John Magaro

On January 24, 1975, Keith Jarrett improvised a jazz concert at the Cologne Opera. He played on a piano, a faulty Bösendorfer baby grand, instead of the Bösendorfer Imperial 290 that Manfred Eicher had ordered for him. The instrument’s flaws forced the musician to completely rethink his improvisation.

“Keith Jarrett played that night like no other night of his life because he was playing against the piano,” says Ido Fluk. “He had to limit himself to the middle registers because the high and low notes were defective. At the heart of ‘Au rythme de Vera’ lies a truth that applies to all great works of art throughout human history: it is the obstacles, the blocks, and the limitations that shape the work. And the artist must face them to create something great.”

Au rythme de Vera : 6 secrets de tournage