La deuxième étoile (Bande Originale du Film)

La Deuxième Etoile

Bande Originale du Film

Un film de Lucien Jean-Baptiste

Cast Lucien Jean-Baptiste, Firmine Richard…

Musique de Erwann Kermorvant

Label Plaza Mayor Company Ltd

When Jean-Gabriel’s perfectly organized family ski holiday turns into a multi-generational, logistical and emotional nightmare, only he still believes he can pull it off…

For this sequel to “The First Star” Lucien JEAN-BAPTISTE set the tone from the first working meeting : “Home Alone”. So we opted for a very orchestral and fast score, filled with “Sleigh Belt” and “flying wood”. But, just like in the first part, the emotion is also very present. A real Christmas movie! Once again I called on the incredible talent of the Philharmonie in London to record all these notes.

“With Erwann it is a long and beautiful story guided by the success of “The First Star”.

A complicity was born. The music of this “second star” is a continuity.

Assuming the tone of “Christmas movies” with melodies that have nothing to envy to the great classics

Hollywood of the genre. listen…!


Lucien JEAN-BAPTISTE 6/12/2022


Original Motion Picture Soundtrack


Original Motion Picture Soundtrack

A film by Paul Urkijo Alijo

Music by Aránzazu Calleja & Maite Arroitajauregi

GOYAS 2023 Nomination – Best Soundtrack – Best Song

Selection Festival Stiges – San Sebastian – Gerardmer

Follows Irati, a young girl who will guide a group of Christian and Muslim warriors through a journey in an ancient mythological world where everything that has a name exists, in an attempt to recover a lost treasure…


The key of the soundtrack of Irati was to underscore the duality within the story. On one hand, it had to be epic, wide and christian, supporting the concept of medieval movies. On the other side, it should represent the world of the pagan animism, magical and obscure, of the basque mythology.

The first part is more classical, more orchestral. The second part more is suggestive, telluric and experimental. The two worlds converge in the encounter of the two characters, each one with its own melody, that end merging into a unique theme. All this through sounds, textures and themes which bring us to the 8th century. 

The song IZENA DUENA BADA, as a tradicional copla, talks about the genesis and the pantheon of the basque’s mythological world collected in hundreds of stories transmitted orally. Mari, supreme goddess, mother earth, protects and punishes her daughters and sons justly. A world full of magic deities that will continue to exist as long as someone remember their names.


The main challenge when composing the music for Irati was to find the epic but at the same time, do it in a kind of original and personal way. The lack of sources of the music of VIII century in that context of confrontation between pagans and christians, allowed us the use the imagination in the process of defining both the textures and instrumentation of the score.


(Original Motion Picture Soundtrack)


(Original Motion Picture Soundtrack)

Director Michael Kampa

Music by J Bateman

Label Plaza Mayor Company Ltd

Izzy is an energetic 9-year-old. Overscheduled and running late, her parents can’t pick her up on time on the last day of school before Christmas break. A blizzard complicates the matter, but not as much so as a pair of bad guys who are freezing in an ice cream truck. The school janitor is kidnapped by them, and it’s up to Izzy to save the day.

It’s close to Christmas and nine-year-old Izzy (Cameron Seely) is desperate to get a new guitar. Her parents have promised to take her after school if they can be bothered. You see, Izzy’s parents are ridiculously consumed with their very busy jobs, to the extent that they borderline neglect their two children. So off Izzy goes to school where she spends quite a lot of time with Ray the Janitor who teaches her the guitar. Then a blizzard hits, the school closes early and all parents must come and get their kids. All except Izzy’s. We’ve already established that they are not the most reliable people.

By now, Ray has realised that Izzy is on her own in the school and goes back to get her. He then gets kidnapped by the thieves who don’t know Izzy is still there. All the while the idiot parents have crashed their car, and are attempting to get to the school by other means. That includes trying to rob a snow ski, which they also crash. I told you they’re idiots.

Of course, this is primarily a kid’s Christmas movie so everything works out in the end. Christmas Break-In is basically Home Alone with a girl in a school. Sadly, it doesn’t have any of the same comic genius, decent script or plot as it’s predecessor. To the woman on IMDB who gave it two reviews, both with 10 stars – what were you thinking????


Original Motion Picture Soundtrack


Original Motion Picture Soundtrack

Music by Jonathon Deering

Written and directed by Rapman as Andrew Onwubolu

Produced by Joy Gharoro-Akpojotor & Damian Jones

Production company BBC Films

Distributor Paramount Pictures

Label Plaza Mayor Company Ltd

The film received 1 win and 14 nominations at the UK’s 2020 National Film Awards for all the lead cast and main crew, director and producers. It also won the NME 2020 Best Film Award. In addition to the UK the film was released in USA, Netherlands, South Africa, South Korea, Poland, Russia, United Arab Emirates, France, Canada, Spain, Germany, Sweden, Turkey, Portugal, India, Japan, Ukraine, Brazil, Singapore, Vietnam and The Philippines…

Still available on Amazon Prime, Virgin, Hulu, Netflix, Chili, Apple, BBC iPlayer, Paramount Plus etc etc

Blue Story produced by Joy Gharoro-Akpoiotor and Damian Jones and directed by Rapman for BBC Films/Paramount Pictures.

Blue Story is a tragic tale of a friendship between Timmy and Marco, two young boys from opposing postcodes. Timmy, a shy, smart, naive and timid young boy from Deptford, goes to school in Peckham where he strikes up a friendship with Marco, a charismatic, streetwise kid from the local area. Although from warring postcodes, the two quickly form a firm friendship until it is tested and they wind up on rival sides of a street war.

Jonathan Deering is a very exciting award winning new emerging talent and is the youngest composer ever to score a Paramount feature in their 109 year history and for sure has a brilliant career ahead of him.

Blue Story depicts elements of Rapman’s own personal experiences and aspects of his childhood.


Original Motion Picture Soundtrack


Original Motion Picture Soundtrack

A film by Alessio Liguori

Music by Fabrizio Mancinelli

Label Plaza Mayor Company Ltd

Three engaged couples, Flavio  (Filippo Nigro)  and Elena  (Diane Fleri) , Federico  (Alessandro Tiberi)  and Claudia  (Marina Rocco)  and Enrico  (Marco Bocci)  and Martina  (Caterina Shulha)  decide to spend a weekend together in the Mediterranean, all guests on Flavio’s yacht. They are almost all rich, used to the good life, and this trip is an opportunity to spend time together and settle old grudges.

The outsider Martina, Enrico’s very young girlfriend, not used to that standard of living, but very attracted to the occasion, joins them. After the first day of celebration, sea and sun, the cruise takes a disturbing turn. Why did they wake up in the middle of the sea?

From Director Alessio Liguori

Music has always been the most important vibrational element in the success of any film. When I start working on a screenplay and focus on a new film, I listen to a wide array of music to channel the emotions of my work.  Working with Fabrizio Mancinelli surpassed my goals of creating an impactful score.  His sensitivity, knowledge of the medium and the shared culture of cinematic reference enable him to create unique and unforgettable music. Each time I work with him, he sets the bar higher and consistently manages to create something that well exceeds my expectations. Each challenge that we face in working on films becomes fascinating and stimulating. Working with Fabrizio is a privilege I wish for every director because he perfectly tailors his musical talent to each unique film.

From Composer Fabrizio Mancinelli

When Alessio Liguori asked me to compose the score for his thriller The Boat, I started carving themes based on the script, in order for the director to play some of the musical atmospheres on set to inspire the cast. Such a treat!

Some of the pieces ended up being used in the film, while others ended their lives on the cutting room floor.

We closely collaborated in creating a valid storytelling arc in music to properly underline each separate moment and grow until the end, without revealing too much of what we were about to see on screen.

It’s not usual to have this much fun while I work, especially on a thriller. I feel truly blessed to have collaborated with Alessio on this special film.

And I’m grateful to my great team (Luca Antonini and Piernicola Di Muro) and Budapest Scoring.


(Il mio nome e Vendetta)

Original Motion Picture Soundtrack


(Il mio nome e Vendetta)

Original Motion Picture Soundtrack

A film by Cosimo Gomez

Stared by Alessandro Gassman, Remo Girone…

Music by Giorgio Giampà – Marta Lucchesini 

Label Plaza Mayor Company Ltd

A Netflix Film

After old enemies kill his family, a former mafia enforcer and his feisty daughter flee to Milan, where they hide out while plotting their revenge…


My Name is Vendetta is a film about physical and emotional survival. The music tells the story of the characters’ struggle in solving an impossible riddle to stay united and alive. We move quickly from the slow, soft, and welcoming rhythms of a daughter’s affection for her father, to the wild, percussive, and noisy races of escaping death. Likewise, we move from being glued to each sync to alienating ourselves from what is happening in the scene embracing Santo and Sofia’s story in its entirety. The use of synthetic timbres has allowed us to exploit the same sound matrix in many cases by treating it until we got the most different results, from sweetness, to total brutality, creating, beyond the themes, links of sound texture that act as a narrative thread. Giorgio Giampà – Marta Lucchesini composers

Track List

  • 01 – Sofia Reborns
  • 02 – Black Metal Motor Race
  • 03 – Santo is Dying
  • 04 – Don Angelo’s Monsters
  • 05 – Sofia Learns How Yo Fight
  • 06 – Badass Dad
  • 07 – Santo Begins
  • 08 – Trust Me, Son
  • 09 – Santo, Sofia and The Forests Call
  • 10 – Santo Kidnapps
  • 11 – Sons of The Wrong Fathers
  • 12 – Sofia Was Born for It
  • 13 – My Name Is Vendetta


(Winter Boy) Original Motion Picture Soundtrack


Winter Boy

Original Motion Picture Soundtrack

A film by Christophe Honoré

Cast: Juliette Binoche, Paul Kircher, Vincent Lacoste..

Music by Yoshihiro Hanno

Label Plaza Mayor Company Ltd

Selection Toronto, San Sebastian, Tokyo Festivals….

A 17-year-old high school student trying to get to grips with the new challenges posed by death, life, the city and “the temptation of renouncement”.

Paris 26 December, the day before shooting.

Dear Yoshihiro,

I’m very excited to have you be the musician for my next feature film.

I admire your work and especially the music you composed for “Mountains May Departure”, Jia Zhangke’s film. I’m starting my shoot tomorrow, until mid-February. I am as always impatient and terrified. The story of my film is told by a 17-year-old man. He strives to reconstruct the events that took place in his life following the death of his father in a car accident. His narrative is troubled, chaotic, he tries to tame death, love and a shameful sense of freedom at the same time and it is as if he is trying to look the sun in the face. I would like to give my images to a theme that evokes disgrace, the loss of the idyll and the irruption of a new tenderness, where Lucas could take refuge when he no longer understands what is happening to him. I propose to send you regularly news of the film I am going to shoot, images, remarks, so that you can connect our two imaginaries for miles away. I am very happy to know that each of us, on two different continents, are starting to dream together of a film that does not yet exist. With all my friendship in Paris.

Christophe Honoré, Director

Before filming, Christophe Honoré gave me a briefing on the subject matter of Lycéan. 

He asked me to compose a Family nostalgia theme based on the story and some photos.

I expressed in music the transition from a 17-year-old boy to adulthood, fragility, confusion, family ties, and hope for the future, and entrusted these compositions to the director. 

Our collaboration achieved a miraculous synchronicity, with every song composed before filming resonating throughout this beautiful film. This was a surprise and a valuable experience.

Yoshihiro Hanno – Composer



Original Motion Picture Soundtrack



Original Motion Picture Soundtrack

A film by Paolo Strippoli

Music by Raf Keunen

Label Plaza Mayor Company Ltd

In the past few days Rome has been the scene of a singular event: when it rains, the manholes exhale a dense stream whose origin and composition is unknow. No one can imagine that whoever breathes in the mysterious substance will have to deal with what he/she represses, their darkest instincts, their anger. Not even the Morel family…


Flowing is a ghost story without ghosts.

Of the ghost story it respects the narrative structure, the suspension, and, after all, the “presences” the steam evokes might seem like ghosts. However, they are projections of our darkest instincts, the demons that we hide in the depths of our soul, that we feed without realizing it. Our anger.

The idea of ​​making a horror about rage in Rome immediately fascinated me for its truthfulness. The Rome described in Flowing is constantly on the verge of exploding and is not too far from today’s reality. It is sufficient to be in line at a supermarket or the post office, in a bus that is too full to feel it crawling among people. It is the same anger that feeds the worst forms of politics today, that gives rise to the most boorish outbursts on social media, that makes us increasingly individualistic.

 My intention was to make Flowing a dramatic film that would slowly slide into a spiral of horror, photographing the neuroses and weaknesses of the world we live in through the filter of the genre. I wanted Flowing to be what I most love and constantly look for as a spectator: a horror film with a heart.

                                                                                                                                          Paolo Strippoli


The big challenge for the score of Flowing was to find the right balance between the drama it holds and the horror elements. The family story at the heart of the film is very present and leads us to the bigger picture behind it. In each scene the characters and their struggles, obstacles and development: it’s rare to see a more in-depth approach of personal coping with inner demons in horror, but this is the horror itself and that’s fascinating. Their conflict with personal demons is the horror. 

                                                                                                                                                   Raf Keunen


(Original Motion Picture Soundtrack)


(Original Motion Picture Soundtrack)

A film by Nicola Abbatangelo

Music by Fabrizio Mancinelli

Label Plaza Mayor Company Ltd

A young immigrant named Eva living in New York during the 1920s dreams of becoming a singer and falls for a pianist with an active imagination….

When Nicola Abbatangelo asked me to compose both the score and the songs for his first feature “The Land of Dreams” I was obviously overjoyed as this was a chance of a lifetime to express myself in a form, I always felt close to my heart: the musical. Nicola Abbatangelo and Davide Orsini’s script was the primary inspiration in conceiving a group of songs that could lead the storytelling crescendo of Eva and Armie’s adventure. Some songs are more danceable (with a longer Broadway-ish number) while some others incorporate moments of reflection. I channeled different experiences of my life as an immigrant in Eva’s feelings and in her desire to make it. The score is in line with the Fantasy-like look of the film (and how inspiring have been Mirco Sgarzi’s cinematography and Luigi Mearelli’s editing), incorporating more aleatoric moments (In the trenches – with a quasi-meta-music moment) and variations on the song themes which are fully developed in the piece called What dreams are made of. I have to thank Nicola for believing in me and strongly wanting me on this film and our producer Marco Belardi for granting us the resources to realize a fully orchestral score (in difficult covid times). And last, but not least, my ultimate thanks go to my music team. Without them I could have never achieved these results.

Fabrizio Mancinelli music composer

It’s never easy to make a movie. Like being on a rollercoaster, we travel at a supersonic speed, between ups and downs. It is for this very reason that I have always considered it essential to surround myself with true and great talents. With Fabrizio we share a true friendship and the dream to create stories that can give the audience that same amazement that pushed us, since childhood, to pursue this career. This was the propulsive force behind all the work on The Land Of Dreams. I wish Fabrizio, a marvelous Artist, and all the people who will listen to the beautiful music from our film, to never stop hoping and dreaming.

Nicola Abbatangelo – Director



Original Motion Picture Soundtrack



Original Motion Picture Soundtrack

A film by Kilian Riedhof

Music by Peter Hinderthür

Label Plaza Mayor Company Ltd

Selection Festival de Locarno

France cinema November 2

Germany cinema November 10

“Vous n’aurez pas ma haine”: L’histoire vraie d’Antoine Leiris, qui a perdu Hélène, sa femme bien-aimée, pendant les attentats du Bataclan à Paris. Adapté du livre d’Antoine Leyris.

Antoine lost his wife in the Bataclan bombing in Paris. In a Facebook post, he explains how he resists hate: he opposes that of terrorists to his love for his 3-year-old son. Bereaved, he seems to be losing ground.

Antoine lost his wife in the Bataclan bombing in Paris. In a Facebook post, he explains how he resists hate: He counters the terrorists’ hate with his love for his 3-year-old son.

Alto flute, string quartet, large string ensemble and electronics –

the composer Peter Hinderthuer finds a sensitive equivalent in the music for both the breakup of Antoine’s social structure and the painful return to life.

Peter’s score explores the space behind what is actually visible. The space of despair, hatred, memory and hope.
It is a music that oscillates between paradise and hell, light and darkness, angels and demons, life and death.
In its subtlety, it avoids all pathos, but not compassion.
It professes a cinema that touches and seduces.
And it possesses what movies are in their essence: magic.

Kilian Riedhof – Director

The terror of 13.11.2015 is real, the people who had to experience it are real, the losses, the pain and the grief are as well.
It was immediately clear that I could confidently throw my previous experience as a film composer overboard for this story. 
So I first wrote An Ode To Live – my attempt to counter the terrorists’ will to destroy with beauty and sophistication, as Leiris suggests in a TV interview.
Who knows how the somewhat strange-seeming “You will not have my hate” would sound if I hadn’t been allowed to compose it completely freely without the footage from the editing room.
The other pieces were also created at the request of the director away from the film and were only applied to the film very late in the editing process. 
I am very grateful to Kilian for this way of working, so I was able to focus fully on the emotional significance of this story.

Peter Hinderthür – Composer