This close reading of Claude Sautet’s music-film Un coeur en hiver / A Heart in Winter (1992) also reflects on issues raised by music-films generally. Films that take music as their central subject raise special questions about the role of music in cinematic representation. Un coeur en hiver’s musically saturated narrative explores people’s abilities to know themselves and others and to express themselves adequately in emotional contexts. At the same time, the film’s techniques interrogate both the role of music in the construction of cinematic subjectivity and the potential of cinema to engage with our understandings of musical subjectivity. On one level the music self-critically serves its classic role in cinematic narrative of encouraging – even coercing – us into filling in narrative gaps otherwise left open by plot and dialogue. On another level, however, Un coeur en hiver can be read as a species of cinematic meditation on Ravel’s music: traces of Ravelian biography are scattered throughout; on-screen performances of the Piano Trio provide a musical metaphor for the narrative love triangle; and the Trio’s first movement provides a formal skeleton for the film as a whole. Drawing on recent film-music theory as well as Naomi Cummings’ account of musical subjectivity, I suggest that the film reflects specifically upon the music by exploiting its cinematic resources – dramatis personae, narrative, and mise-en-scène– to position us as auditors of Ravel; it projects a sense that Ravel’s subjective presence inhabits his trio and sonatas. To shed light on the nature of this cinematic meditation on musical authorship, I draw on John Corbett’s account of recorded music as something that both promises pleasure and threatens lack. I also revisit Edward T. Cone’s understanding of ‘the composer’s voice’, proposing a reading of Un coeur en hiver as a cinematic reflection on our fetishism of composer biography in an era marked by the loss of human presence in mechanical musical reproduction.