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…!

Merci ERWANN KERMORVANT! »

Lucien JEAN-BAPTISTE 6/12/2022

CHRISTMAS BREAK – IN

(Original Motion Picture Soundtrack)

CHRISTMAS BREAK – IN

(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????

BLUE STORY

Original Motion Picture Soundtrack

BLUE STORY

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.

VOUS N’AUREZ PAS MA HAINE

YOU WILL NOT HAVE MY HATE

Original Motion Picture Soundtrack

VOUS N’AUREZ PAS MA HAINE

YOU WILL NOT HAVE MY HATE

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

BLANK

Original Motion Picture Soundtrack

BLANK

Original Motion Picture Soundtrack

Director Natalie Kennedy

Music by Arhynn Descy

Label Plaza Mayor Company Ltd

In BLANK, struggling author, Claire Rivers signs up for a fully A.I. operated retreat to help her writer’s block, but when an unforeseen software glitch occurs, she gets trapped inside her unit with a malfunctioning android, a degenerating host and no communication with the outside world. As time is running out, food supplies getting desperately low and the android becomes increasingly unstable, Claire must overcome her fears and find a way to outsmart the technology in order to make it out of the retreat alive.

BLANK is the debut feature from Director Natalie Kennedy (Down and Out) and has received accolades at several international sci-fi and genre film festivals including: Boston Science Fiction Film Festival (2022), GenreBlast Film Festival (2021), Lady Filmmakers Film Festival (2021), Other Worlds (2021).

Arhynn Descy – Score Composer – Statement

It was an utter pleasure working with Natalie on Blank. Her very clear vision allowed me all

the space in the world to use my creativity to realise that vision. There are two strands in

this film and I knew from the beginning that I wanted to create two different, yet

complementary sonic worlds to reflect these strands, which appear in multiple ways; real

person vs AI, present day vs past, outside vs inside, truth vs story. And so I crafted a sound

world that reflected all these ‘twos. Synth and programmed instruments were combined

with ‘real’ recorded piano and violin, the latter reaching a climax of human emotion, played

beautifully by violinist Francina Moll Salord in the final showdown between Claire and Rita –

real person vs AI. Correspondingly, the piano features its own duality in the score – a ‘real’

piano vs a broken piano and, as in the story, the two sound worlds collide and impact each

other as they inevitably must.

Natalie Kennedy – Director – Statement

It was clear in the early stages of working with Arhynn that her composition style would bring the essential sense of tension and unease so instrumental in the creation of the right tone and atmosphere for the film. As with other features in this genre the environment created by the soundtrack so heavily influences the end result and audience reaction.  From gentle beginnings with a sense of unknown menace, to the stark realities of entrapment, threat and an insistent sense of foreboding, Arhynn’s skill and grasp of the concept shine through.

THE CONVERSATION

Original Motion Picture Soundtrack

THE CONVERSATION

Original Motion Picture Soundtrack

Director Dominik Sedlar

Music composed by Dalibor Grubačević

Label Plaza Mayor Company Ltd

Toronto 2022 Film Premiere

Based on a true story of a meeting in June 1945 between two powerful men with very opposite philosophies and perspectives on the future of their country. It is a dangerous time

As the Balkans war had just been won and the Nazis defeated, with The Red Army close at hand. A conversation that will shape the world

WWII ends on May 8th, 1945. Just nine days after the Partisans triumphantly enter Zagreb, Croatia.

On May 17th, the Partisan leader Josip Broz -Tito places Archbishop Alojzije Stepinac in “preventive detention”. He is seen as a threat to the soon to be created Socialist Federative Republic of Yugoslavia. The only known conversation between the two occurs on June 4th, 1945. June 4th, 1945. A conversation that ultimately shapes the future of both men and the country of Croatia…

THE CONVERSATION

Original Motion Picture Soundtrack

Composed by Dalibor Grubačević

01. The Conversation – Prologue                                               4:28

02. Four Years of War                                                                   0:42

03. The Cave                                                                                  1:37

04. Marija Horvat                                                                          1:52

05. Of All The People In That Bus…                                           1:26

06. What Came Of Marija?                                                         3:28

07. When No One’s Looking                                                       1:15

08. Forgery                                                                                     1:46

09. Memories Of Marija                                                              2:55

10. Fever                                                                                         1:17

11. Farewell                                                                                    3:27

12. Epilogue                                                                                   2:28

13. End Credits                                                                              3:15

Composed and orchestrated by Dalibor Grubačević

Performed by LS Studio Orchestra

Uýra: The Rising Forest Original Motion Picture Soundtrack

Uýra: The Rising Forest

Uýra: A Retomada da Floresta

Original Motion Picture Soundtrack

Director Juliana Curi

Music Nascuy Linares

Label Plaza Mayor Company Ltd

Selection 2022 Outfest LA Festival

Selection 2022 Outfest LA Festival

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.

MASTEMAH

(Original Motion Picture Soundtrack)

MASTEMAH

(Original Motion Picture Soundtrack)

Director Didier D. Daarwin

Music by Yvi Slan

Label Plaza Mayor Company Ltd

Après la mort brutale d’un proche lors d’une séance d’hypnose qu’elle animait, Louise, jeune psychiatre tente de se reconstruire en s’installant dans un petit village de l’Aubrac. L’arrivée d’un nouveau patient au comportement étrange va la plonger dans une spirale infernale. Sa vie et celles des autres vont devenir un véritable enfer.

Yvi Slan s’est inspiré de György Ligeti, Krzysztof Penderecki, l’avant garde de la musique contemporaine polonaise des années 70. Il y a ajouté ses influences de fan de musique de science fiction comme les frères Bebe et Louis Barron. Yvi Slan a mélangé le tout aux bandes sons de films de genres actuelles comme les grosses productions internationales de films d’horreurs ou fantastiques. Son passé de compositeur de musiques électroniques, donne une musique résolument racé, ultra typé, moderne, comprenant tous les codes du cinéma de genre tout en s’en distinguant en y rajoutant sa « touch ».

Mastemah est une bande son, sombre, froide, triste, planante, totalement psychédélique, douce et ultra-violente et surtout sans compromis.

JUNGLE ROUGE

(Original Motion Picture Soundtrack)

JUNGLE ROUGE

(Original Motion Picture Soundtrack)

Director Juan José Lozano

Music by Nascuy Linares

Label Plaza Mayor Company Ltd

World Premiere at FIFDH 2022 Geneva

In 2008, FARC second-in-command Raul Reyes, was killed in a raid orchestrated by the CIA and the Colombian army. His computers were found: ten years of thousands of emails written by the man in charge of negotiating the release of 100 hostages, including Ingrid Betancourt. Jungle Rouge delves into the secrets of the oldest communist guerrilla, as the revolutionary utopia was slowly turning into a nightmare.

Director Statement : « Depuis l’écriture, j’étais convaincu qu’il nous fallait une musique originale en complément a ces musiques diégétiques et qui n’ait pas peur de rester en arrière-plan et de se fondre dans les sonorités de la jungle afin de donner du relief a une bande-son constituée essentiellement par des sons dits « naturalistes » issus d’une certaine captation du réel. Et c’est avec idée en tête que je suis allé a la recherche du vénézuélien installe a Barcelone, Nascuy Linares, qui venait de composer la musique pour «Embrace Of the Serpent » de Ciro Guerra et « Los silencios » de Beatriz Seigner, séduit d’abord par son immense talent et ensuite par la justesse de son interprétation du scenario lors de sa lecture »

Juan José Lozano

Film Director

Composer Statement: « When I read the script and talked for the first time to Juan about the film, the main sound images we shared aimed to the emotional weight of the music track. We totally agreed from the beginning that the film did not require long musical cues, but each of them would play an important role in order to carry on the energy of the characters and the words that were not spoken.

Nascuy Linares

Film composer

SHELTER IN PLACE

(Original Motion Picture Soundtrack)

SHELTER IN PLACE

(Original Motion Picture Soundtrack)

Director Chris Beyrooty and Connor Martin

Music by Zach Robinson

Label Plaza Mayor Company Ltd

In April of 2020, a small group of filmmakers found ourselves locked down in the storied Hollywood Roosevelt hotel. With twelve days until the original safer-at-home order was set to lift (how wrong we were…), we crafted a film that mirrored the current state of our emotions in lockdown. Upon wrap, we formed an instant connection with composer Zach Robinson, who injected life into our ideas and wove them into sonic splendor. Facing uncertain times, we hoped to capture the early days of what would become a total paradigm shift in our society. Zach’s score anchored this project, accenting the terror faced by our cast with memorable, chilling motifs that linger long after the credits roll.We wanted something that harkens back to giallo classics of yesteryear, but still maintains the modernity and eeriness of the current wave. This is the result. – Directors Chris Beyrooty and Connor Martin

https://open.spotify.com/album/2SaolkbgItGWeGbhTpPt6c

Shelter in Place une des milles et une histoire de la pandémie et de ses confinements successifs.

Zach Robinson co-compositeur de la série Tv Cobrai Kai, signe ici un score aux résonnances électro. Je me suis mis a aimer ce dynamisme et les sons angoissants d’un huis clos malheureux. L’électro qui me semblait sans chaleur est ici suave, sensuel et un tantinet mélodique a n’en plus finir. Sans doute le changement d’époque subit, le bouleversement de nos sécurités habituelles ; sans fantaisies, sans superflue, Zach Robinson a rejette et jette toutes ses tonalites pointues, aigues pour en faire une harmonieuse partition.

Hellen Page

In May of 2020, I was approached by two directors to score their horror film, which to my shock and amazement had already been written, shot, and edited mere weeks after the global lockdown had been instated. As I watched the film for the first time, the most inspiring facet to me was the location at which it was set: the Hollywood Roosevelt Hotel, one of the most famous Los Angeles landmarks and only a 5-minute drive from my apartment at the time. The beautiful visuals Chris and Connor were able to retrieve from this once vibrant but now utterly desolate location made my brain wild with ideas. I got to work trying to identify sounds and melodies that echoed the ghostly hotel and was particularly fascinated with the use of space. For this film, I often chose to write simple melodies with fewer notes, or simpler rhythms that could live within the hotel’s uninhabited space without feeling overwhelming or jumbled. The result ended up something akin to an Arvo Pärt score for a giallo film. I’m incredibly grateful to Chris and Connor for bringing me aboard, as well as producers Jonathon Martin and Blake Goza. -Composer Zach Robinson