Koln 75 ★★★

Released: 5 June 2026

Director: Ido Fluk

Starring: Mala Emde, John Magaro, Michael Chernus, Alexander Scheer

All it took was one woman’s passion, determination and unwillingness to be told ‘no’ for the biggest jazz concert featuring American pianist Keith Jarrett to occur in Cologne, Germany at the opera house in 1975. That woman was Vera Brandes and Köln 75 tells her story leading up to that event, coinciding with the concert’s 50^th anniversary, with free flowing jazz playing in its various forms. Despite having Cologne in its title, this film belongs to Mala Emde playing Vera with such verve, filling up every ounce of the camera frame with her unbridled enthusiasm. Her energy is boundless – she is very often running from place to place, reminiscent of Renate Reinsve in The Worst Person in the World and Franka Potente in Run Lola Run! There is no denying that she captivates at every turn, which adds that magnetism to the changing rhythms of this musical tale!

Edme’s infectious laugh pervades the film as long, tracking shots capture her regularly running no matter the occasion; Vera is flirtatious, fearless and audacious. Other women want to be like her – Vera’s studious feminist friend asks her how she does it as she ‘acts as though she owns the place’ and men are enticed by her. However, Vera is determined and driven, after a chance encounter with Ronnie Scott leads to a new career opportunity as a tour promoter. Still, she is forthright and doesn’t hide her disgust or mince words when she misinterprets a query by Ronnie Scott as a sign of him making advances in her direction. She does lie about her age, however, claiming to be 25 – she’s 16! But, that is a fact revealed to the audience in a humorous fourth wall breaking moment.

Surprisingly, for a film about Cologne’s best selling jazz concert in the 70s, very few jazz pieces feature. This seems to be an editing choice by design to focus viewers on the elements that Ido Fluk, as director, prefers to emphasise. Jazz did not have a large reputation, in that period, within Cologne and therefore Vera is constantly having to convince others to see the music’s value through her eyes. Instead, there are underground bars with jazz artists for Vera to discover and disconnected scenes of a journalist, Michael Watts, attempting to interview Keith Jarrett (John Magaro) alongside mansplaining jazz concepts in the interim, which are sometimes helpful, as a makeshift narrator. Unfortunately, Köln75 feels bloated and overlong on occasions as several scenes, without Vera, seem unnecessary.

We are forewarned from the outset to expect few references to the concert as this film is all about the ‘scaffolding’ and the various events leading up to such a momentous occasion. But, the film seems sprawling and confused as to which direction to take to get there! Vera’s story is compelling, but the bizarre directorial choice to disrupt her career trajectory story abruptly shifts the mood.

Whilst Vera is energetic and chaotic, Keith is dour and riddled with back pain thus establishing a large chasm. That’s not to be dismissive of the scenes with Magaro but the film is not described as a biopic about Keith Jarrett and the journalist also admits to his editor that he had made up his involvement in some scenes regarding Jarrett’s journey to Cologne. Therefore, it is difficult to determine which viewpoint to rely on.

Still, Vera’s story is by far the most fascinating. Despite her carefree demeanour, she is battling against the system, the patriarchy and a conservative father who insultingly refers to her as a disappointment, even at her 50^th birthday! Just as Vera gave it her all for this career to rebel against her parents doomsday predictions for her career choices, Emde gives it her all with a breathless, tour de force performance. She is the beating heart of the film and a reason to remain watching throughout more predictable biopic, musical elements.

Köln 75 struggles to decide whether it would, in theory, prefer to be a documentary as there is footage of Miles Davis’ concerts peppered throughout the narration rather than being reserved to the end credits with foot notes. Although learning about Jarrett’s techniques for creating improvisation jazz, via the unreliable journalist cum narrator, are useful, those scenes equally lean towards a documentary format and their inclusion seems frustrating.

Overall, Köln 75 is an exciting film that jazz aficionados will appreciate, despite some misguided editorial choices. It takes that unprecedented moment in history and brings it alive through Vera’s energetic enthusiasm. Emde makes this film her own and it will be exciting to see her next steps!