A special screening of the film-opera about the tragedy on the shores of Japan combines the directorial precision of Jean-Pierre Ponnelle with the sound of Giacomo Puccini's music. The film, close-ups, and play of light and shadow make the story of Cio-Cio-San almost physically tangible, while the musicologist's analysis helps to hear new intonations of pain, hope, and fidelity in the familiar score. The screen version of Puccini's opera as interpreted by Jean-Pierre Ponnelle shows how a theatrical work can transform into independent cinema. Instead of a fixed viewpoint from the audience's seat, there is a moving camera, close-ups, and a carefully constructed composition of the frame, where every gesture and turn of the head matters. The film was made in the 1970s, but still feels fresh: the director works with visual symbols as attentively as the composer does with musical themes. Ponnelle employs cinematic techniques: flashbacks, blurred outlines, sepia "old-style," slow-motion movements, and internal monologues where singing is heard off-screen. Because of this, the tragedy of the young geisha ceases to be an abstract plot from a distant era and feels like the story of a living person who took promises too seriously. The camera lingers on details of the Japanese house, the fabric of the kimono, faces trying to maintain dignity at a moment when both cultural codes and personal agreements are crumbling. An important part of the experience is the work of the singers and orchestra under the direction of Herbert von Karajan. Mirella Freni, Plácido Domingo, and Christa Ludwig create an ensemble where each voice has its own character and development line. The film production allows for a close-up view of the characters: not from the back row of the auditorium, but literally at a glance. The delicate tremolos of the strings, pauses between phrases, and the breath of the orchestra become part of the drama no less than the words of the libretto. Before and after the screening, viewers will enjoy comments from musicologist Ekaterina Mukovozchik. She helps to interpret the directorial decisions, explaining how Ponnelle's cinematic language differs from...