Almost quarter a century after its release, Stanley Kubrick's Eyes Wide Shut (1999) remains an enigmatic film, with respect to its meaning and, especially, its value. The precise source of the value of Kubrick's last film still remains mysterious. The work is designed to bear multiple, complex meanings. Indeed, such meanings could be combined, if loosely, into an overall, global interpretation: as a film that is about an inner journey into one's psyche and life, facing previously unrecognized fears and insecurities, looking at aspects of one's private, romantic life, but also at some not very uplifting truths about the world we live in. The film exhibits complex aesthetic value, a big part of which, as is usual with Kubrick’s movies, is derived from the power of the sound track complementing meticulously arranged scenography. Today, we cannot simply imagine the most famous scene from the movie without its no less enigmatic soundscape derived by Jocelyn Pook from orthodox Romanian liturgy. By way of inverting traditional prayer, she has been able to connect us with our semi-conscious primal urges in a way hardly imaginable in a traditional attitude to score composition. Side A contains Jocelyn Pook’s haunting themes from the original movie sound track, while side B contains extended mix of the Masked Ball track and alternate mix of Migrations from side A.