His name is Tom Tykwer (“tik-ver”), and you might not know it, but you already know who he is. If you only saw five foreign films back in the 90s, it’s quite likely that one of them was Run Lola Run, his second feature, a hyper-stylized, tripartite romp filled with bright colors, rapid-fire action and a surprisingly light touch. Its accessibility made it a breakout success, cementing the German filmmaker as a force to be reckoned with on the international stage. He defied expectation by following up the short, sharp Lola with the long, meditative The Princess and the Warrior (both of which starred Franka Potente.) Those two films – as well as his 1997 breakout, Winter Sleepers – form a loose trilogy based around the concept of “blind chance.” If that sounds like a Kieslowskian concept, then perhaps it’s appropriate the Tykwer’s fourth film was Heaven, which was meant to be the first installment in a trilogy of films based around Dante’s conceptions of the afterlife to be directed by the Polish master himself. Tykwer went even more ambitious after that, creating an extremely divisive (and expensive) adaptation of Patric Suskin’s cult novel Perfume. This week, however, he took his first leap into the realm of full-blown Hollywood filmmaking with the suspense thriller The International, starring Clive Owen and Naomi Watts. How does he fare when he doesn’t get to include any montages? You’ll find out on this episode of Sound on Sight.