Railway Heroes (Original Motion Picture Soundtrack)

Railway Heroes (Original Motion Picture Soundtrack)

铁道英雄 (原创电影配乐)

Director Feng Yang

Music by Min He 何美

Label Plaza Mayor Company Ltd

Railway Heroes – 铁道英雄 is a Chinese war film  directed by Yang Feng and starring Zhang Hany, Fan Wei, Vision Wei, Zhou Ye and Yu Haoming. The film follows the story of a Counter-Japanese Underground Armed Force of the Communist Party in Shandong during the Second Sino-Japanese War.

The historical story of an enemy fighting the withs and courage of an extraordinary brave group of ordinary heroes known as the “Lunan Railway Brigade” who desperately fight to defend their homeland…

Le cinéma chinois entre dans la maturité. Des scenarios, des lumières et surtout des mises en scènes qui s’élaborent comme un tournant de précisions et d’ingéniosité. La toile de fond reste une histoire féroce et impressionnante. Une histoire riche, des drames, des moments heureux… C’est le propre d’une civilisation riche et profonde.

Railway Heroes est un de ses film épique, tourmente mais grandiose par des faits quotidiens enrichis d’héroïsme et de passions.

Min He une jeune compositrice signe la une de ses partitions les plus complexes et étonnantes. Accompagne par les cordes de l’orchestre symphonique de Prague. Il y a de la force de la puissance dans son écriture, emmenés par une histoire terrible.

On aimera a la mesure de l’énergie et de la passion qu’elle donne.

Hellen Page

Min He 何美 score is an electric ambient mixed by cello, string quator and nostalgic accordion…

Min He is a 2x HMMA nominated composer, songwriter, and pianist based in Los Angeles and Beijing. She has been involved in the production of over 80 English and Chinese language scoring projects.

Original Music Composer: Min He


Music Arranger: Min He

音乐制作 & 编曲:何美臻

Additional Music:Perry Woo

额外音乐制作: Perry Woo

Cello Player:Evgeny Tonkha

大提琴演奏:Evgeny Tonkha

Electric Guitar Player:Andrew Synowiec

吉他演奏:Andrew Synowiec

Accordion Player:Min He


Orchestral Performance by Prague Recording Orchestral


Conductor: Adam Klemens

指挥: Adam Klemens

Recording Engineer:  Jan Holzner

录音师:Jan Holzner

Scoring Mixer: Scott Smiths

音乐混音师:Scott Michael Smith

Music Editor:Jim Don

音乐编辑:Jim Don


(Original Motion Picture Soundtrack)


(Original Motion Picture Soundtrack)

Director Megan Mylan

Music by Hanan Townshend

Label Plaza Mayor Company Ltd

HBO Documentary

A meditation on the elemental bonds of family told through portraits of four Syrian families in the aftermath of war…Simple As Water is a quiet and meditative documentary from Academy Award-winning director Megan Mylan.


Dans nos epoque d’un monde Fou, il y a des batailles invisibles et pourtant bien reelles. Des familles, des enfants tentent d’eviter le naufrage de leur vie dans les guerres provoquees par les autres. Il tentent de vivre, la ou la vie devient impossible.

Et quand l’impossible n’est plus supportable, alors a la nage, a la rage, ils tentent une autre vie.

Les notes de Hanan Townshend, resument tres bien cette lente descente pour rejaillier dans un espoir inattendu sur autre vie du monde. Hanan Townshend un melodiste empreint de l’humanite des touches de son clavier. Une avancee lente et magique. Il nous avait déjà enchante dans un film fantastique « The Book Of Vision ».

Ecrire, composer est une part de son humanite que l’on devoile. Le present score de « Simple As Water » est un pur moment.

Hellen Page


The soundtrack for Simple As Water is an honest and reflective score tenderly underlining the brokenness, loss and pain of the many displaced Syrian families in the world. In conception, the score was not to be emotionally manipulative and in its spareness allow the viewer to sit with the families in their day-to-day life and, hopefully, feel they are alongside them in their moments of struggle, loss and joy. The understated quality of the music makes each cue more poignant and memorable, as the main piano theme weaves in and out through the film. The instrumentation of the score is an organic blend of oboe, bowed vibraphone, marimba, piano and solo strings, and Its childlike purity is a reflection of the film’s subjects, families and stories. The score is tinged with a sadness throughout, but is always reaching for a place of hope, warmth and resolution. “Less is more” was the statement I came back to again and again while composing the music for Simple As Water – empowering the viewer to feel vulnerable in the face of the realities these families face and to reflect on the human connections all beings desire and were, ultimately, created for.

Hanan Townshend

G STORM (Original Motion Picture Soundtrack)

G STORM (Original Motion Picture Soundtrack)

反貪風暴 5″ (原创电影原声带)

Director David Lam

Music by Anthony Chue 褚镇东

Label Plaza Mayor Company Ltd

G Storm will be the fifth and final film in the Storm series

Z Storm, S Storm, L Storm, P Storm

Follows an investigator as he prevents a terrorist attack during a symposium held by Hong Kong’s Independent Commission Against Corruption. He later finds it has links to human trafficking in Thailand…

The main’s themes from the previous four films remain, and a few new themes appear for several of the new characters. The music in this film is generally bolder, since the plot is bolder. Also, I have used the Cor Anglais, for the first time in my music. Is the exotic sounding texture and it fits the mysterious aspects of G Storm.

Anthony Chue – composer


(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????

PRIVATE DESERT (Deserto Particular)

Original Motion Picture Soundtrack

PRIVATE DESERT (Deserto Particular)

Original Motion Picture Soundtrack

Director Aly Muritiba

Music by Felipe Ayres

Label Plaza Mayor Company Ltd

Brazil’s official selection in the Best International Film category for the 2022’s Oscars.

It is based on police who is suspended after an internal investigation, wandering the country in search of a real encounter with his internet love…

Felipe Ayres – composer statement

Creating the score for Private Desert has been an incredible experience.
The idea behind it was to convey the protagonist’s emotional journey into music; from their anguishes of the unknown, through their inner battles and redemption.
All of this had to translate to screen in both a subtle and delicate way, but with enough deepness and strength to it.

Track List

  • Estrada ao Deserto #1
  • Estrada ao Deserto #2
  • Estrado ao Deserto #3
  • Sara
  • A Flor da Pele
  • No
  • A Entrega


(Bande Originale du Documentaire)


(Bande Originale du Documentaire)

Realisateur Stephane Miquel

Musique de Maximilien Mathevon

Label Plaza Mayor Company Ltd

Diffusion France 3 Television

13 Decembre + rediffusions.

C’est un premier roman et c’est une œuvre ultime. C’est une révolution stylistique et c’est un scandale politique. C’est une femme et c’est tout le genre humain. C’est un romancier du XIXe siècle et c’est notre éternel contemporain. C’est la province et c’est le monde. C’est un procès du Second Empire et c’est une réflexion pour aujourd’hui…

Du 1er octobre au 15 décembre 1856, Gustave Flaubert fait publier Madame Bovary, mœurs de province, en feuilleton dans la Revue de Paris. à peine plus d’un mois plus tard, le 29 janvier 1857, il est traîné devant les tribunaux pour « délits d’outrage à la moralité publique et religieuse et aux bonnes mœurs ». Peine encourue : un an de prison…

Ce documentaire reprend le dossier Bovary. Convoque ses principaux protagonistes : Flaubert, le procureur Ernest Pinard, l’avocat Jules Senard…  Fournit de nouvelles pièces à l’accusation comme à la défense à partir de l’extraordinaire trésor d’archives (manuscrits, carnets, scénarios, plans… ) collecté par l’équipe scientifique du Centre Flaubert à l’Université de Rouen. Appelle à témoigner chercheuses et chercheurs français et internationaux, autrices et auteurs contemporain.e.s…

Avec une seule instruction : faire revivre dans toutes ses tensions et intentions le scandale Flaubert. L’affaire Bovary, c’est tant de procès en un seul : pour ou contre la Morale, le Style, l’Art, les Femmes, la Province, la Liberté d’expression… Autant de mobiles et d’alibis qui en les recontextualisant dans leur époque n’en regardent pas moins vers la nôtre. Et font d’Emma Bovary une héroïne universelle. 

Alors faites entrer l’accusé Flaubert, et avec lui cette autre nous-même : Madame Bovary… 


(Original Motion Picture Soundtrack)


(Original Motion Picture Soundtrack)

Director Samantha Orozco

Music by: Alejandro Karo & Mayra Lepró

Label Plaza Mayor Company Ltd

Premiere Festival Aix en Provence (France) 30 November

As composers is a privilege to give music to a story, so deep and beautiful as “Esmeralda”.

In this project we had the opportunity to use new tools and a different approach as a team where the final result was a hybrid score with acoustic and electronic elements.

We want to thank director Samantha Orozco and producer/co-director Francisco Mochmar for giving us their trust to tell this story.

Alejandro Karo & Mayra Lepró

1. Novias Elegantes

2. Su Recuerdo

3. Arturo

4. Esmeralda

5. Boda Y Funeral

6. El Eterno Enamorado

7. Volverla A Perder

8. Epitafio

LA MANCHA NEGRA (Original Motion Picture Soundtrack)

LA MANCHA NEGRA (Original Motion Picture Soundtrack)

Director Enrique Garcia

Music composed by Jesús Calderón

Performed by the “Banda Sinfónica de Jaén” orchestra, conducted by Pedro López Álvarez and Jesús Calderón in Jaén (Spain)

Label Plaza Mayor Company Ltd

After the death of the elderly Matilde Cisneros, her three daughters set the wake before a neighbor that turns its back on them, a priest in war with the family, and the unexpected arrival of his eldest son.


From the beginning, I conceived the soundtrack of “La Mancha Negra” as rough and wild music, a reflection of the feelings of the characters, who are tormented in a very visceral and primitive way. The mother of the family, for example, with her brief but crucial role, continues thanks to the music to constantly float over the whole story like a ghost that haunts and envelops everyone with her sickly and greedy personality until the end. “La Mancha Negra” is made of rough percussions, repetitive motifs, dissonances … but there is also a place for hope, nostalgia, memory and regret; that materializes through the music for Mercedes, which transforms from atonality to become a melodic poem that reunites her siblings again. I have to thank the effort and passion of the musicians of the “Banda Sinfónica de Jaén” orchestra, who put all their effort and enthusiasm in interpreting my twisted music, and Pedro López for his mastery and professionalism. Thanks also to Enrique García, director of the film, for his eternal confidence and infectious enthusiasm. This soundtrack would not have been the same without his wise advice and his knowledge of the power of film music.

(Jesús Calderón, composer of “La Mancha Negra” soundtrack)


The trip to the devised town of Aljarria in “La Mancha Negra” is a journey to the roots of pain of a family broken by the past, in a harsh environment, where hopelessness reigns and where, after the death of Doña Matilde Cisneros, resentment and greed emerges. Photographically portraying “La Mancha Negra” was a difficult but very plastic task: The days with yellow sand floors, white houses, blue skies, women in black mourning and heat, a lot of heat. The nights give way to the blue of the moon, the gold of the lamps and the black night, as if they were paintings by Caravaggio. The music could not be under that black cloak. Thanks to the interpretation of the “Banda Sinfónica de Jaén” and the masterful score by Jesús Calderón, I have been able to hear the broken soul of the Cisneros family based on double basses, the awakening of greed with insinuating flutes, percussions, pizzicatos and brass for the nightmares that become real. And the love that existed and died like a dry olive tree in the “Nana de la Negra Noche” song, composed by Calderón for the broken and at the same time authentic voice of Zenobia Fernández. Thank you, Maestro Jesús Calderón for giving eternal life to the soul of “La Mancha Negra”.

(Enrique Garcia, director and screenwriter of “La Mancha Negra”)

Orquestaciones: Pablo Olivas Marco

Ingeniero de sonido: Rafa Martos

Banda sonora mezclada y editada por Jesús Calderón

Canción “Nana de la Negra Noche”

Escrita y producida por Jesús Calderón

Interpretada por Zenobia Fernández

Fotos de la grabación: Gabriela Cerdán Cerdá

Fotografía de estudio: Fidel Meneses

Diseño de portada: Pedro Cabañas


(Original Motion Picture Soundtrack)


(Original Motion Picture Soundtrack)

Director Robbie Moffat

Music by Pascal Isnard & William Marx

Label Plaza Mayor Company Ltd

Traveling from Transylvania to Scotland by train, the Count’s two companions Lucy and Renfield start on a series of changes in order to get the Count over his many fears – sunlight, crosses, bibles, running water, garlic, food and drink. Dracula chose Scotland for his holiday because he wanted to visit his maker Bram Stoker’s Castle, which he regards as rightfully his own. Once there he is befriended by two local undertakers Goddaming and Stewart who live in a castle, they attempt to socialize and fit in. Godalming’s teenage daughter Flora is attracted to them and admits that she would like to be a vampire.

The Count and Lucy are smitten by her and crave for a daughter of their own. When Stewart’s new wife also turns out to be a vampire, and the undertaker business is booming, the happy band of dead and near-dead can’t help but take advantage of Goddaming and Stewart’s hospitality. This arrangement is delightfully comic in the way it unfolds. When it is not clear that Dracula could ever be reformed from his bloodletting ways, Lucy makes plans to marry Dracula with the hope that his reformation will occur when he settles down into married life or so she thinks. A comic tale for Halloween and beyond into the nether realms of Dracula’s alternative abode. Rather than making Dracula a type of ‘baddie’, this film takes a jovial view of the comedy genre and his character. It is therefore in some ways a relief from the heavy overtones of the serious ‘Horror’ Film and something that will make people leave the cinema with a smile.


(Original Motion Picture Soundtrack)


(Original Motion Picture Soundtrack)

Director Michela Cescon

Music by Andrea Farri

Featuring Paolo Fresu & Luigi Piovano

Label Plaza Mayor Company Ltd

Tormina Festival Italy – Uk Cinema …………

A lone robber, riding a different maxi scooter each time, robs one bank and a jewelry store after another, squeaking at great speed through the folds of Rome, between its ancient beauties and its urban archaeologists, always managing to sow its pursuers and finally vanish into nothingness.

The case is in the hands of a Roman commissioner, true and cynical who, failing to get to the head of it, asks for help from a friend of his Parisians, called the French, a former commissioner famous for his psychological insight and for resolving dozens of impossible cases. Everyone except for the death of their daughter, whose anniversary she returns to the city every year. He will discover the identity of the robber, a person who is as unsuspected as he is of great intelligence, with whom he engages in a challenge with unpredictable consequences.

Statement By Michela Cescon, Director

        “Blue Eyes” experiments with genre in this personal rendition and tribute to the French Polar film. It is light on dialogue, heavy on atmosphere, with melancholy, romantic characters: two police chiefs, one robber, a scooter, a young mechanic… and the city. Rome and the waves of traffic coursing through its streets and the solitary, empty nights between Rome’s Pyramid, white as the moon, and the Coliseum at dawn keeping watch over challenges and revenge.

        There are no landscape shots. Each frame tells the story through the emotions they elicit. Indoor shots are minimalist. The architecture furnishes the places, playing with space and light. Much is understood about each character as they move through these intentionally empty spaces. The film was shot in wide-angle – typical of this genre – using CinemaScope, which provides depth and makes it necessary to choose certain points of view. In “Blue Eyes” we don’t need to see everything, just what helps create the story. Cinema is also about what you choose not to show. The photography is so “material” – emphasizing contrasts, details and distances – you can almost touch it.

Right from the beginning, the robber and her city are accompanied by the sound of a trumpet playing. The music, like all the sounds in the film, is very important, it moves the story forward, narrates, acts as a bridge for emotions. Then it stops, it’s gone, just like the robber, and as we await the ending, we are immersed in the smoky atmospheres of jazz and summer dreams to the sounds of swing.

        Genre films need talent because they follow the rules and techniques specific to filmmaking. A lot of talent went into the making of this film, from the actresses and actors Valeria Golino, Jean-Hugues Anglade and Ivano De Matteo, to Director of Photography Matteo Cocco, to composer Andrea Farri and his extraordinary soloists Paolo Fresu and Luigi Piovano, to Esmè Sciaroni, Grazia Materia, Fabrizio Nanni, Luca Servino and Filippo Porcari. All of them were asked to think of this film as a game, with the most serious attitude possible, and gracefully employ a style somewhere between a detective film and noir in order to understand the world and say something about ourselves.