The music in Johan van der Keuken’s films hangs between impetus and catastrophe: always on the verge of coming into the world, music does not emerge without exhausting the visuality of this world. Through this tension, van der Keuken’s cinema tells us that music allows us to redefine the notion of wonders, understood not as objects petrified under Medusa’s gaze, but as assemblages that produce a musical hearing. In this understanding, wonders are vibratory bodies captured in the process of their becoming, a process through which the world’s becoming-music gets carried on and re-energized. Van der Keuken’s films invent a cinematic musical practice that reveals and realizes its potential to evoke wonder, proposing a concrete answer to ethical and political imperatives through the audio-visual image yet against the reductive and normalizing forces at work in it.