György Ligeti’s piano cycle consists of 11 movements. In each movement, he works from several sets of notes, so that at the end of the cycle he reaches a fugue that uses all 12 notes of the octave. Just as films are made from literary works, this film can be understood as an adaptation of a musical work. In every movement, the film stems from the nature of the music, which makes it abstract. At the same time, the music almost appears as an action. The film is therefore not just a visual documentation of the music and the performance of the performer, but a cinema in its own right.