Komponist*in

No Budget auf Rechnung ab 4. Oktober 2026 bis 31. Dezember 2028 16 Stunden pro Woche

Format: Theatrical Feature Film / Long Feature Shooting Period: August 2027 (18 shooting days) Post-production / Music Production: Expected from Autumn 2027 (exact schedule TBA)

Remuneration: Deferred payment basis (Realisierung auf Rückstellungsbasis) Lead Cast: Frida Stittrich, Fritz Fromm, Amira Demirkiran, Lydia Maria Makrides We all know what a film is without music. You are the one who breathes life, emotion, and rhythm into the pictures, turning our vision into a sensory reality. About the Film & The Vision On the abyss. In Berlin. We move with people for whom no role has been provided. Who are not allowed to play a role in our profit-driven society. What chance of life and survival do they have in our world? A world with no escape and no consideration. Together with these people, we explore the boundaries of our time. “K.” is a contemporary, poetic interpretation of Kafka’s "The Castle," set in modern-day Berlin. We follow five unhoused people on their journey on foot through the city. Much like K. wanders aimlessly through the castle in the novel, they move through their own world in search of a secure position. It is a testing of societal boundaries—raw, poetic, and filled with pitch-black, ironic moments (such as hunting pets for their own sustenance). Artistic Intent: All five main characters inherently carry both the protagonist and the antagonist within themselves. Every character possesses deeply realistic facets, with their negative traits becoming visible as the film progresses. What We Are Looking For & Your Responsibilities For the musical identity of our film, we are looking for a highly experimental and creative Film Composer or Music Collective. The music should not be mere background noise, but should occupy its own radical, unpredictable layer. Artistically, we want to break traditional boundaries. While a central core element will be the fusion of the human voice and electronic synthesizers, the overall score should thrive on wild, abrupt genre shifts. We do not want a purely electronic soundtrack—we want different musical worlds to collide. From raw electronics to acoustic instruments, classical motifs, or alternative styles: anything is possible.