The scheduling of this film was poignant, as it was a year to the day that Japanese composer and musician Ryuichi Sakamoto died.

‘Ryuichi Sakamoto – Opus’ is pretty minimalist.

There is no orchestra and there are no cuts to interviews with Sakamoto or tributes from friends.

It is just an hour and three quarters of Sakamoto at the piano playing his repertoire. And it’s absolutely engrossing, the effect of the film heightened by its being shot in austere black and white, which avoids the distraction that bright colours may have introduced.

Sakamoto’s performance is beautifully filmed in a series of exquisitely framed shots that could stand on their own as an exhibition of photographic stills.

Sometimes the camera zooms in on Sakamoto’s hands spidering across the piano keys whilst at other times the focus is on his face or silhouette.

Occasionally the camera lingers on some of the studio equipment, microphones and cables, a physical grounding that contrasts with the ethereal music.

The first twenty minutes of the film were slightly marred by some clown in the back row of the cinema scoffing crisps out of a loudly rustling bag. Not ideal when the film is such a quiet, intense cinematic experience.

But I had a pint of 71 Brewing Jute City beer nestled in my seat’s cup-holder to console me so all was not lost.

You might think that 103 minutes of one person sitting at a piano might drag a bit, but that was not the case at all.

‘Ryuichi Sakamoto – Opus’ is superb and could have gone on for longer without losing its magic.

After the film we left DCA and walked along Perth Road to The Maker, which has quickly established itself as a great new restaurant in Dundee.

As we tucked into delicious croquettes, pulled pork and salad, a boisterous crowd could be heard enjoying a show in the restaurant’s basement.

Related Post: ‘Ryuichi Sakamoto: Coda’, Dundee Contemporary Arts (DCA)

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