An exploration of one of contemporary cinema's most provocative directors, this book considers Lars von Trier's innovative use of pre-existing music, demonstrating how it shapes cinematic meaning through a unique combination of music and film analysis, archival research, and insider interviews.

From the world's end set to Richard Wagner's Tristan and Isolde in Melancholia, through the haunting performance by Björk on the gallows in Dancer in the Dark, to the reinterpretation of Johann Sebastian Bach's organ piece “Ich ruf zu dir, Herr Jesu Christ” as a metaphor for hypersexuality in Nymphomaniac, Lars von Trier's films employ pre-existing music as a central storytelling device.

Drawing on exclusive access to Lars von Trier's private archives and interviews with key collaborators, this book uncovers the behind-the-scenes processes that bring these musical moments to life. It explores how pre-existing music is adapted, reimagined, and interwoven with visual narratives. The book's transdisciplinary approach reflects the diversity of Lars von Trier's films, offering fresh perspectives on musical adaptation, audience engagement, and the collaborative nature of filmmaking. By examining Lars von Trier's entire filmography, it provides a deeper understanding of how music shapes cinematic storytelling and its emotional resonance, making it a valuable resource for film studies and musicology.