Our favorite local movie house KINO turns 7 this year! To celebrate this stellar tour de force, they once again replace their projectors for mixing decks in their various screening rooms for another installation of their anticipated Boogie Nights. For the first time, we have the honour to host KINO 1 during this celebratory night, where the silver screen meets the pulsating beats, as we groove and move through seven years of cinematic magic.
To get into the mood, we joined forces with our friends over at KINO to curate a list of cinematic gems that blend captivating visuals with unforgettable soundtracks. The Chief Technician and Head of Filmprojection at Kino Rotterdam, Jürgen Zweers, who spends most of his days in dark booths with old and noisy machines, came through with three of his absolute favorites. We added a couple of our personal faves too!
Stop Making Sense – Talking Heads (1984)
Picked by KINO’s Chief Technician and Head of Filmprojection Jürgen
The seminal concert film by Jonathan Demme and amongst my most played albums.
The setlist and visual narrative of the film harmonize perfectly, starting simply with a lonely David Byrne on guitar with an accompanying tape and escalating further and further until both the soundscape and frame are filled with an almost chaotic amount of auditory and visual information, contrasting the absolute crisp mix and image. However, it is not a simple crescendo into a climax, as Talking Heads and Demme find intimacy in the performance and capture of songs like “This Must Be The Place” and “Once In A Lifetime”, which might contain one of my favorite shots in cinema.
Black Caesar (1973)
Picked by Bound45’s Luce Bree
After Isaac Hayes shifted his career into a higher gear with the influential score for Shaft, and Curtis Mayfield managed the same with Superfly, seemingly every major soul star of the early 1970s ended up doing music for a Blaxploitation film. James Brown was certainly no exception in this case, the Godfather Of Soul co-wrote the Black Caesar soundtrack with Fred Wesley for the eponymous film by Larry Cohen released in 1973.
The film centers around Tommy Gibbs, played by former NFL defensive back Fred Williamson, drawing on his anger at the racism he faces on a daily basis Gibbs grows up to become the crime kingpin of Harlem. Once in power he aims to take down New York’s Mafia bosses – and also get bloody revenge on his nemesis. The movie was shot on a shoestring budget, often with handheld cameras and without permits at various locations in and around New York.
James Brown’s outstanding funky & soulful soundtrack is a perfect accentuation to the raw character of the film and the images of New York. It features ‘The Boss’, one of my personal favorite James Brown songs and often sampled in hip-hop tracks throughout time. It might not be his best album where every track is a definite hit – but the Lyn Collin’s featuring and tight instrumentals by The JB’s make this one of the many albums that never fails to lift my mood, and make me feel like I’m walking around 1970’s Harlem like a bad mutha.
Apocalypse Now (1979)
Picked by KINO’s Chief Technician and Head of Filmprojection Jürgen
From the opening shot of a beautiful treeline being upsettingly beautifully destroyed by napalm while The Doors’ The End is playing, to the bone-chilling crescendo in Wagner’s Ride Of The Valkyries set under the horrifying display of mechanical power on a Vietnamese village, Apocalypse Now brings you into an almost passive state, both hypnotizing and agonizing. As the protagonists and his companions navigate ever deeper on the river of madness, you are involuntarily invited to join their descent.
The complementary OST by Carmine and Francis, often using motifs from popular songs from the Vietnam war era, devolves from atmospheric into full dissonance, guiding us in the state of mind of these horrid men. A great album for a dark and stormy night.
Death Proof (2007)
Picked by Bound45’s Abdelhamid
For me, if I had to choose a movie where visuals and soundtracks overshadow its plot it must be Quentin Tarantino’s ‘Death Proof’.
DP aired as a double feature together with Robert Rodriguez’ ‘Planet Terror’ as an ode the Grindhouse-genre. Grindhouse, a format where you could immerse yourself in the wonder worlds of exploitation movies (like Black Ceasar to name one) back 2 back for multiple days. Planet Terror & Death Proof exist in the same universe, where the Death Proof events happen before and after Planet Terror. You’ll notice this when a scene in Planet Terror has a radio announcement acknowledging the death of Jungle Julia who’s brutally killed by Stuntman Mike’s road rage during the first part of Death Proof. Although Quentin labeled Death Proof as his worst movie and does not ever want to release anything less than that, it remains one of my faves. And I will tell you why.
The “Death Proof” soundtrack is like an adrenaline shot to your senses. Picture this: revving engines, high-speed chases, and a dash of 70s nostalgia. It’s not just a soundtrack; it’s a time capsule of Americana that could only be curated by Tarantino himself. From the opening riffs of “The Last Race” by Jack Nitzsche to the soulful “Down In Mexico” by The Coasters, each track captures a moment, a mood, a scene. The standout track “Chick Habit” by “April March” arrives at (or a little over) the finish line. Just right after a freeze frame of Stuntman Mike getting his skull crushed by Zoë.
Fun fact: Zoë is actually Emma Thurman’s stunt double in Kill Bill and later to be Quentin’s Stunt Coordinator for most of his movies.
The soundtrack does more than support the visuals; it carries it. It’s a must-view, whether you’re a Tarantino aficionado or a newbie to his world. So, fire up that engine, hit the open road, and let “Death Proof” be your co-pilot.
Trust me; you won’t regret it.
Deux Hommes dans la Ville (1973)
Picked by Bound45’s Bobby Martin
Sometimes, you learn about the soundtrack before the film itself. In the case of “Deux Hommes dans la Ville” it was the incredibly funky composition “L’appartement” by Philippe Sarde (a legend in French soundtracking) that caught me from the start. From those amazing sun-soaked ’70s guitar riffs to its smoky jazzy keys, this soundtrack instantly transports you to the French Riviera, where you are compelled to solve crimes of the highest order!
And when you finally dive into the film, you’ll find that it’s a perfect match for the vibe set by its sensational soundtrack. This gripping crime drama doesn’t just unfold on the French Riviera; it immerses you in its vibrant world of complex characters, moral dilemmas, and the relentless pursuit of justice. As you follow the journey of Gino and Germain, you’ll feel the tension rise, the stakes escalate, and the mysteries deepen, all against the backdrop of that irresistible musical score.
Boogie Nights (1997)
Picked by KINO’s Chief Technician and Head of Filmprojection Jürgen
PTA’s magnum opus and a soundtrack to match! Not only are the songs used to indicate the viewer what time period the story is taking place in, the characters in the film actively interact with all the songs, blurring the line between diegesis and non-diegesis.
You’re not the boss of me, Jack. You’re not the king of Dirk. I’m the boss of me. I’m the king of me. I’m Dirk Diggler. I’m the star. It’s my big dick and I say when we roll.
Dirk Diggler
A sublime scene where “Sister Christian”, “Jessie’s Girl” and “99 Luftballons” are mixed together builds the tension and comedy masterfully. If you’re on the fence about watching this film, I challenge you to not grin when “Best of My Love” hits your ears when your eyes are being bombarded with the neon pink title card. You are in for a ride.
California Crisis (1983)
Picked by Bound45’s Yoast
The captivating J-pop soundtrack of “California Crisis” perfectly complements the film’s action-packed sci-fi drama, drenched in an ’80s vaporwave aesthetic and featuring stunning, over-the-top animation.
While “Heartbeat” unquestionably stands out as the signature track, the entire album evokes a sense of longing for a coastal drive in a convertible. The music transports you to a sun-soaked world filled with palm trees, where neon lights and endless possibilities await. It’s the sonic heart of the film, leaving an indelible mark long after the credits roll.
Come celebrate KINO’s 7th anniversary with us this Friday, October 13th. Next to a B45 all-nighter in KINO 1, Bouman Records will take care of the Foyer, LOLO VON DYK & Chayne Saro will host a karaoke show and the night will be visually dressed by Jane Bergkotte, Co2RO & Baris Azman.
Final tickets are on sale here!
C U THERE!