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Label:
Number: OOPMMS14012/KRONCD044

TRANSIT (CD)
Composed by: Christoph Zirngibl

Sample Tracks
Name Number
Transit 01
Who Should Take You Like That? 04
Ramona's Escape 07
On The Run 12
Play All Tracks

Truck driver Martin (Clemens Schick) is almost being dismissed since he fails to deliver his load on schedule even though he already exceeds the driving time required by law. Martin is totally exhausted, but he needs the job. Carrier Roland (Andreas Hoppe) grudgingly gives him one last chance. At a motorway station, a young East European, Ramona (Annika Blendl), asks him to give her a ride. Martin doesn’t know yet that Ramona is a prostitute fleeing from her pimp (Bernd Michael Lade) who is closer on her heels than she thought.

TRANSIT depicts the odyssey of two people who must stand their ground in the strange “freeway” cosmos every day. Mobility has become their personal prison: Martin is confined to his truck and Ramona to a grubby caravan where she has to receive her clients. Surrounded by dreary solitude and marooned in a network of concreted lifelines, these two individuals are connected to each other by their fears and hopes.

Christoph Zirngibl's score is the perfect companion to both picture and drama. It puts you there in Martin's truck, in Ramona's head and on the asphalt of the highway. It's warm where it needs to be warm and cold when called for. A very sensible, genuinely beautiful and evocative score. This is our second release for young and promising German composer Christoph Zirngibl, a very respected and requested composer in his country and it is our honor and pleasure to "export" his name to the rest of the world.

1. Transit 2:01
2. Martin 2:03
3. Ramona 2:31
4. Who Should Take You Like That? 1:25
5. Martin Takes A Break 0:30
6. A New Day 1:34
7. Ramona's Escape 2:47
8. Martin's Decision 0:46
9. On The Road 2:14
10. Freedom 2:02
11. Traced 1:49
12. On The Run 3:29
13. Turning Round 1:23
14. Martin And Ramona 2:27
15. Where Do You Wanna Go? 3:09
16. Never To Be Seen Again 3:19
17. End Credits 2:49

  
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