Ido Fluk, with In Vera’s Rhythm, weaves a mirrored narrative where two forms of determination intersect: that of a musician seeking redemption through pain, and that of a young producer ready to defy the conventions of a male-dominated industry.

From the very first scenes, the filmmaker establishes a visual dialogue between two contrasting worlds: the cold, closed-off atmosphere of Berlin, where Vera Brandes navigates her path, and the nocturnal wanderings of Keith Jarrett, a pianist imprisoned by his own body. This juxtaposition creates a constant tension: on one side, the suffocating heat of familial and societal expectations weighing on Vera; on the other, the icy solitude of an artist struggling to let his music speak despite physical suffering.

At the heart of this diptych-like narrative, Vera and Jarrett embody two sides of the same struggle: the pursuit of authenticity. Fluk avoids hagiography by giving each character their own shadows and contradictions: Vera, torn between a yearning for freedom and the weight of a domineering father who refuses to let her step into her own power; Jarrett, oscillating between creative rapture and physical collapse—as if every note he plays exacts a price. The camera, often still, lingers on telling details: the harsh light filtering through the shutters in Vera’s family apartment; Jarrett’s trembling hands on the piano keys; or the reflections of Berlin gliding across the water at night, symbolizing the fragile boundary between hope and disillusionment.

Mala Emde, as Vera Brandes, gives striking form to this duality—strong yet vulnerable, willing to risk everything to realize her vision of a legendary concert, yet fully aware that she must first break free of the male gaze constantly judging her. In her performance, you can sense the fury held back beneath every word, the unwavering resolve in every step she takes. John Magaro, on the other hand, portrays a more internal Jarrett: his silences, his vacant stares between takes, perfectly illustrate the inner turmoil of a man whose body is betraying his creative spirit. The scenes where he rehearses while groaning in pain sharply contrast with moments in which his playing reaches near-mystical heights—this constant back-and-forth between ecstasy and collapse makes his portrayal deeply affecting.

The film’s editing—alternating between long takes and accelerated cuts—reinforces the idea of music as a driving force of life. When Vera decides to produce the concert, the camera begins to open up, shifting from suffocating close-ups to wider frames, visually echoing her desire to break free from constraints. In contrast, Jarrett’s sequences are often filmed at night, in isolated locations, emphasizing the loneliness of an artist at odds with his own body. Backlighting plays a key role: the stark light on Vera constantly reminds us of the pressure she endures, while the chiaroscuro around Jarrett reflects his unseen battle with pain.

More than just a music biopic, In Vera’s Rhythm explores the question of power: who gets to strive for greatness? Who gets to tell a story? By placing Vera and Jarrett on equal narrative footing, Fluk shows that whether the pursuit is musical or societal, the path to excellence is paved with similar sacrifices. Vera’s father, portrayed as an inflexible authority figure, becomes the antithesis of this ideal: he tries to silence her, to reduce her ambitions to a supporting role. Jarrett, meanwhile, experiences the same resistance—but it comes from within, from his own body. In both cases, music becomes both a weapon and a sanctuary: a weapon against repression, a sanctuary from pain.

The final sequence, in which Vera attends the concert Jarrett performs after she takes charge of production, becomes a crescendo of emotion. As the audience holds its breath, the camera lingers on Vera’s face—passing through admiration, pride, and release. Jarrett, for a brief moment, seems freed from his torment; each note resonates like a triumph over suffering. This symbolic convergence underscores the strength of a story that, beneath the surface, celebrates both female emancipation and ultimate artistic redemption.

In the end, Ido Fluk delivers a film whose narrative restraint is matched only by its emotional power. By juxtaposing two journeys that seem worlds apart—yet united by sheer determination—he creates a universal portrait of those who dare to break through barriers, whether imposed by gender, pain, or authority. In Vera’s Rhythm reminds us that music, beyond its notes, is a call to freedom: the freedom to create, to dream, and to make yourself heard in a world that often refuses to listen.

In Vera’s Rhythm, directed by Ido Fluk, in theaters June 25.

Grade: 5/5 

https://laseptiemebobine.com/2025/06/02/au-rythme-de-vera-les-dessous-dun-concert-mythique/