Süddeutsche Zeitung, Munich
"The two musicians, they endeavored on the one hand to bring over the expression and the happenings in the film, and on the other hand to take a critical stance to the time and the director. This was done by a level of interpretation of their own that was more than indicative yet left the observer adequate scope for thought.
A vehement and, above all, extremely exciting manner of film presentation".

Mittelbayerische Zeitung, Regensburg
"The duo 5 Minute Heroes accompanied this film with percussion, wind instruments and tape, with extremely sensitive and tender meticulousness. The observer sensed that they must have studied the film hundreds of times over a long period before properly getting down to it. They did not offer a slogan-like musical background but instead musical illumination of sensitive film scenes. The Berlin of the 20s emerged from cakewalk, waltz and jazzy step music. Michael Mandl, the composer, demonstrated through subdued application of his electronic instruments that computer-modeled music can be extremely pleasant and even more suitable than a lonely and off-tune piano".

Cas Pik, St. Petersburg
"The two young men are really remarkable, they create intricacy with astonishing ease. This was by no means procedure and artistic means learnt by heart - part of the music is improvisation, and each performance, each concert differs from what has gone before. We encountered a vivid and witty experiment that flowed with a soft, brightly elegant theme into the symphony of the great city of Petersburg".

Hessische Nass. Allgemeine, Kassel
"With great skill in adapting the sounds, the musicians succeeded in capturing the mood of the vampire classic. The instruments and tempo changed scene by scene. There were also humorous aspects, and eccentric effects to reinforce the film's impression".

Waldeckische Landeszeitung
"The two excellent musicians of the 5 Minute Heroes accompanied the silent film. Tubino impressed one in particular by his fine, jazzy manner of playing. This was meticulous instrumentation, diverse and imaginative, far from any kitsch and musical slapstick. They also used sound recordings of their own. They managed to capture the moods and statements of the film classic - whether surprise and shock, unconcern and cheerfulness, melancholy, the eeriness and ghostliness of the night shadows, or the small bliss of a joyful day. From time to time they exaggerated ironically - the creepiness of the castle (Waldeck) - but it was a perfect match".

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