This chapter proposes a novel approach to Neue Sachlichkeit by reframing its frequently noted stylistic pluralism through the lens of literal, not just metaphorical, multilingualism. Drawing on theories from multilingualism and creativity studies, the author explores how the multilingual environments of interwar Europe—and especially Weimar Berlin—shaped the practices, identities, and aesthetics of composers linked to the Neue Sachlichkeit. By analysing contexts such as international music networks, composition classes, and works like Krenek’s Jonny spielt auf, the study highlights how multilingualism informed both musical content and broader cultural ideologies. The chapter ultimately argues for multilingualism as a critical and underexplored category for future research on the Neue Sachlichkeit, emphasizing its potential to enhance our understanding of the movement’s engagement with modernity, urbanization, and transnationalism.