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
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…
PAUL URKIJO ALIJO – Director
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.
Based on The Incredible True Story that Captivated the World
Based on the true nail-biting mission that captivated the world. An international team of elite divers is mobilized to rescue a boys soccer team trapped in a cave by rising floodwaters.
What’s it like to be trapped in a cave for 18 days? How does it feel to be part of one of the biggest rescue missions in history? When rising floodwaters trap a boys soccer team in a cave system in Thailand, an Irish cave diver (Jim Warny, as himself) joins the massive effort to save them. Shot at the original locations – and featuring real heroes involved in the rescue – this incredible saga based on true events is as close as you can get to experiencing for yourself the intensity of this inspiring adventure.
First up we have a trailer debut for Lionsgate’s “Cave Rescue,” a thriller based on the real-life Tham Luang cave rescue incident from 2018. It stars Jim Warny (“The Rescue”), Ekawat Niratvorapanya (“Girl From Nowhere”), and Lawrence de Stefano (“The Flight Attendant”) and opens in theaters, on demand, and digital August 5, 2022, with the Blu-ray arriving on September 13. Here is an official statement from director, producer, and co-writer Tom Waller:
“It was a true honor and privilege to work closely with the real cave divers who participated in the hazardous mission to save the 13 ‘Wild Boars’ soccer team from the cave in Thailand 4 years ago – they are the real superheroes of this miraculous story and showed us the power of the human spirit.”
Was born from two encounters: that between five musicians from different backgrounds but united by the same poetic and musical complicity; and that of two great poets, defenders of courtly love, whom we wanted to bring together despite the centuries that separate them. These poets are Machaut and Aragon. Although seven centuries separate them, their songs, the music of their verses, the spirit of their amorous and chivalrous speech intimately connect them and make them sound so similar.
Aragon never ceased to lay claim to this lineage of medieval poets of which he was a fervent connoisseur. “The last trouvere of modern times”, his poetry resounds like a marvellous echo to the voice of Guillaume de Machaut, “the last trouvere of ancient times”.
From the first medieval crusades, the knights brought back the oriental lyricism of the greatest Persian poets in their luggage. Oriental lyricism gave birth to our fin’amor, courtly love as it was sung by minstrels and trouveres. The art of singing was born. Aragon described and adopted this art so well – it consists in assigning a very definite formal framework to better depict an infinite feeling:
How can we become today’s “transmitters” of this fin’amor lyric, songs of the XIVth and XXth centuries? We have gathered the instruments that were devoted to it, each in its own time: the zarb and other Persian percussion instruments, the medieval flute and voice, the clarinet and electric guitar.
Esharêh’s first meeting with the five musicians set a challenge: was it possible to bring these different sounds together and put them at the service of the same song? The complicity of the musical proposals, the combination of tones, voices, songs came immediately and surprised us by their unity, their strength and their obviousness. Le Miroir Déserté was born…
Uyra, a trans-indigenous artist travels through the Amazon forest on a journey of self-discovery using performance art and ancestral messages to teach indigenous youth and confront structural racism and transphobia in Brazil.
Nelly has escaped from her wealthy and controlling family. As she dances in a strip club, she meets Markos, a small yet charismatic gangster, who helps her run away from her stepfather’s henchmen. Markos soon becomes her protector and lover. He brings her into Broadway, Athens, an abandoned entertainment complex squatted by a small community of dancers, tramps, thieves and a captive monkey.
For a while, everything goes well, even when Broadway hosts a mysterious man, injured and covered with bandages, wanted dead by Athens’ most dangerous mafia. However, when Markos gets arrested and imprisoned, the newcomer will take an unexpectedly important place in the gang.
For years, I have admired the work of Gabriel Yared.
I wished that one day I could have the privilege to work with him, even though such a scenario didn’t seem very likely, given the scale of films produced in Greece. I would never have imagined that the stars would align for this to happen in my first feature film.
For the music of “Broadway”, I envisioned a mixture of pre-existing dance songs (from “Fame” to Greek pop songs of the 70s) with an orchestral score that would convey the mysterious and romantic intonations of the story.
“Broadway” is a film, which draws from different genres – it is a thriller, a love story, a variété of sorts – so the music plays a key part in bridging these different traditions and moods.
The idiom of Gabriel Yared’s work was exactly what this tale called for. His music is always surprising, modulating between ever-changing climates: mysterious and yet deeply romantic; sharp and precise in composition, but fluid in its emotional resonance.
In ‘Broadway’, the music is not just underscoring the events. It is a force that drives the story, weaving a web of dramatic possibilities. It is the fuel, which sets the characters in motion, leading them through the twists and turns of chance.
And yet, like all great works, Gabriel’s music has a narrative of its own and will live and reverberate far beyond the screen.
The director Christos Massalas and I met very early on in the process, before the film was shot. We discussed the film in detail, and also the colours and atmosphere of the music. I love being involved in films at an early stage because this gives me the time to reflect on the story and truly focus on its essence and spirit.
After watching the first edit of the film, I began writing my main themes which I then crafted to particular scenes after the film was finalised.
Broadway really impressed me from the first time I saw it. It contains many unique qualities and immediately drags you in its microcosmos with all the darkness, mystery, and romance.
Christos’ attention to detail is admirable and it’s evident in all aspects of this film. He is a very promising young director who is also very musical.
We had a wonderful collaboration and I am sure both Christos and his film will have a great future.
Bright, intelligent, passionate and free, Eleanos is Karl Marx’s young daughter. Among the first women to link the themes of feminism and socialism, she takes part in the worker’s battles and fights for women’s rights and the abolition of child labor. In 1883 she meets Edward Aveling and her life is crushed by a passionate but tragic love story….
“Music was fundamental in contributing to the tone of the film. As I always do, I made my musical choices while writing the script, choosing to use for certain situations the music of the Downtown Boys, a contemporary Marxist punk. Rock band. I thought that this transgressive band would render the images more powerful, bringing them somehow out or above time, and adding also an ironic detachment from the most dramatic events. The Downtown Boys have also reinterpreted the French L’Internationale. On the other hand, in order to comment romantically and ironically on the more sentimental parts, I used pieces of classical music, mainly by Chopin but also Liszt, reinterpreted with modern sounds and arrangements by Gatto Ciliegia contro il Grande Freddo, the band I’ve always worked with for the musical scores of my films and whose melancholic atmospheres I am particularly fond of.”
An injured stunt woman is infected by an ancient biological compound, when a side job as a PI goes wrong….
DIRECTOR’S STATEMENT | TOXICA | dir. RONA WALTER
TOXICA is a movie that, as we found out after putting the visuals together, would deserve not only delicate sound design and SFX, but also quite the precise score.
The musical score is inspired by elements of 1990s rock music mixed with smooth synths and subtle orchestral elements. The gripping theme Nir crafted recurs throughout the entire film in different moods to cause a dreamlike – or rather nightmarish – cycle.
We emphasis the subtle dread lurking on screen, creeping closer with every act. For example, whenever “Professsor Senca”, portrayed by English actor Andrew Forbes (“Bronson”, “Dr Who”) is on screen, the sound of his clothes and movements is created with the sound of rustling leaves. We approached a similar procedure with Nir’s score, twisting expectations, to keep the audience unsettled without them quite knowing, why, Nir clicked immediately with my vision, and added some truly stunning ideas due to his seemingly endless knowledge of music.
COMPOSER’S STATEMENT | TOXICA | NIR PERLMAN
Right from the initial conversation with Rona we knew the score for TOXICA wouldn’t settle for a generic Hollywood fresque score. Working with the changing nature of the film’s visuals and narrative allowed me to musically explore each segment while trying to create a coherent sonic foundation for the film’s world.
I feel fortunate to have had the chance to work on a film that allowed me to compose for horror, fantasy, action and drama all at once!
In terms of instrumentation, I grounded much of sound world in synth-based elements while adding the softness of the orchestra and the grittiness of analog and digital processing of sounds (from guitars to harps to a string section).
I am very proud of what we’ve achieved with TOXICA, as crazy as it might seem, I think the film stands out in its own special way, and I’m glad I got to be a part of this project.