The notion that sound relates to hearing while images are addressed to the eyes seems rather consensual, however the result of these relations turns out to be much more complex. The phenomenon of this intersection gained a different popularity after 1894, when William Kennedy Dickson (1860-1935) recorded the first sound experience reproduced in film. The music chosen for that inauguration belonged to an opera by Robert Planquette (1848-1903) and was entitled Song Of The Cabin Boy. In 1927, Alan Crosland (1894-1936) directed the film; The Jazz Singer and included, for the first time, a soundtrack synchronized with the movie’s images, debuting the era of sound film. Since then we have seen a constant renewal of experiences that cross sound with image or, more specifically, music with cinema. Composers such as Nino Rota (1911-1979), John Barry (1933-2011), Ennio Morricone (1928) or Burt Bacharach (1928) will always be remembered as ones who stood out as soundtrack composers of more or less well known films. This chapter of Clube da Esquina rounds up different approaches of music that intersects cinema, cinema that intersects music, or how music is thought in relation to cinema. The program is, therefore, a comeback to the term Audio-Vision. Thank you Michel Chion (1947).