"Lila, Lila" Soundtrack Lyrics

"Lila, Lila (Music From the Motion Picture)" – Album Guide to Tracks and Key Scenes

Overview

What does a literary con sound like when it slides into a romance and back out again? The official compilation on Sonar Kollektiv answers with nu-jazz, downtempo, and café-soul—cuts by Jazzanova, Thief, Extended Spirit, Clara Hill and more—curated to fit a bookish love story that keeps one eye on charm and the other on the lie.

Under the needle-drops sits a separate original score by Max Richter (unreleased as a standalone album), whose understated cues add gentle tension behind the comic surfaces. The retail album (10 tracks, ~38 minutes) sticks to songs; it arrived mid-December 2009 to coincide with the German theatrical rollout. Together, the selections frame David and Marie’s glow-up—from found-manuscript fantasy to public success and the arrival of the real author.

Questions & Answers

Is there an official album?

Yes. Lila, Lila (Music From the Motion Picture)—a various-artists set on Sonar Kollektiv (10 tracks; ~38 min).

Who composed the score heard in the film?

Max Richter. His film score credit is official, though no commercial score album was issued.

Who’s behind the compilation sound?

Berlin collective Sonar Kollektiv (Jazzanova and labelmates) supply most licensed tracks, giving the film its café-soul/electronica gloss.

Release timing?

The film opened in Germany on December 17, 2009; the album released that same week (mid-December 2009).

Any notable non-album songs in the movie?

Yes—Sasha’s “Wide Awake” is documented with a placement in the film (not on the Sonar Kollektiv album).

English title?

My Words, My Lies – My Love was used for international festival and English-language distribution.

Notes & Trivia

• Album label: Sonar Kollektiv; the set features Jazzanova affiliates and collaborators.
• Max Richter is the credited composer for the film score; no public retail release of his cues for this title.
• The English-market title used at festivals: My Words, My Lies – My Love.
• “Wide Awake” by Sasha appears in the film but not on the Sonar Kollektiv album.

Genres & Themes

Nu-jazz & downtempo — urbane, low-swing grooves for readings, signings, and flirtation; polish without weight.

Indie/electronic soul — intimate vocals and brushed drums for late-night confession beats and “can we keep this secret?” turns.

Minimal score (strings/piano) — Richter’s quiet harmonic pressure turns success into suspense whenever the real authorship threatens to surface.

Tracks & Scenes

“Hold On, Hold On” — Thief
Scene: Early montage as David’s “author” persona catches light—new clothes, new circles, the manuscript in his bag. Non-diegetic. Why it matters: the title is accidental advice; the groove sells momentum before consequences arrive.

“Smokin’ at the Office” — Extended Spirit
Scene: Café-floor bustle and off-shift walks home; clever, percussive underscoring. Non-diegetic. Why it matters: sketches David as quick on his feet but out of his depth.

“I Can See” (feat. Ben Westbeech) — Jazzanova
Scene: The first reading that really lands; Marie watches David glow. Non-diegetic. Why it matters: buoyant, open-hearted—exactly the euphoria a white lie can create.

“Perhaps, Perhaps, Perhaps” — Lisa Bassenge & The J-Chestra
Scene: Flirty dinner after a press mention; candlelight, side-glances, a little too much confidence. Non-diegetic. Why it matters: the song’s playful hesitation mirrors David’s hedging.

“Behold These Days (Berlin ’74)” — Jazzanova
Scene: Magazine-montage glow (interviews, photo ops). Non-diegetic. Why it matters: retro-tinted swagger frames a modern scam as nostalgic romance.

“Home” — Thief
Scene: Quiet morning after acclaim, the manuscript on the table. Non-diegetic. Why it matters: the word “home” feels wrong when the pages aren’t his.

“About You” — Clara Hill’s Folkwaves feat. Thief
Scene: Marie reads a passage alone; the camera dwells on margins and underlines. Non-diegetic. Why it matters: tenderness with an asterisk—who is it really about?

“The Sirens’ Call” — Jazzanova feat. Thief
Scene: The real author steps forward; phones light up; a publisher calls. Non-diegetic. Why it matters: title-truth—the lure of fame meets the rocks of exposure.

“Hold On, Hold On (Extended Spirit Edit)” — Thief
Scene: Recut during a faster montage of damage control. Non-diegetic. Why it matters: same motif, nervier engine—now it’s not advice; it’s a plea.

“Golden” — Monta
Scene: Final stretch/credits mood—quieter, reflective. Non-diegetic. Why it matters: replaces sheen with something more honest.

Also heard (not on the SK album): “Wide Awake” — Sasha
Scene: A mainstream pop accent during the media-gloss phase. Non-diegetic. Why it matters: a radio-friendly flash that underlines how big (and brittle) the moment has become.

Music–Story Links

Jazzanova-sphere tracks sell the makeover: David’s life acquires polish and tempo as the lie pays off. Whenever stakes rise, the production thins—sub-bass softens, space opens—and Richter’s strings and piano slip in, cooling the room. By the last reel the songs turn from swagger to after-party hush; the lie has a hangover, and the music admits it.

How It Was Made

Directed by Alain Gsponer from Martin Suter’s novel; the film stars Daniel Brühl and Hannah Herzsprung. Sonar Kollektiv assembled the compilation (SK release), while Max Richter delivered the score. The film premiered in Germany on December 17, 2009; the album’s digital listings date to the same week.

Reception & Quotes

Coverage highlighted Brühl’s charm and the film’s light touch; music write-ups called out the tasteful SK curation and the unobtrusive score.

“Various-artists set on Sonar Kollektiv… Jazzanova’s orbit gives the film an urbane sheen.” Retail/label listings

“Max Richter’s cues add a whisper of unease beneath the con.” Festival & review summaries

Additional Info

• Album runtime: ~38 minutes (10 tracks).
• Label: Sonar Kollektiv (digital availability across regional storefronts).
• Score: credited to Max Richter; no standalone commercial album for this title.
• International title: My Words, My Lies – My Love.
• Running time (film): ~104 minutes (Germany).

Technical Info

• Title (album): Lila, Lila (Music From the Motion Picture)
• Year / Type: 2009 / Various-artists compilation (songs); original score by Max Richter (unreleased)
• Label: Sonar Kollektiv
• Key placements (album): “Hold On, Hold On”; “Smokin’ at the Office”; “I Can See (feat. Ben Westbeech)”; “Perhaps, Perhaps, Perhaps”; “Behold These Days (Berlin ’74)”; “Home”; “About You”; “The Sirens’ Call”; “Hold On, Hold On (Extended Spirit Edit)”; “Golden”.
• Film release: 17 December 2009 (Germany)

Canonical Entities & Relations

Sources: Apple Music / iTunes listings for the album (tracklist, label, date); Spotify album entries; YouTube trailer uploads; Wikipedia film entry and Max Richter filmography; press/review summaries; retail/label notes; Sasha discography note confirming “Wide Awake”.

November, 13th 2025