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

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

DRACULA ON HOLIDAY

(Original Motion Picture Soundtrack)

DRACULA ON HOLIDAY

(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.

Jose Fallot – Album “Another Romantic #4”

A new Jazz Romantic signature…

Jose Fallot – Album “Another Romantic #4”

A new Jazz Romantic signature…

Label Plaza Mayor Company Ltd

Distribution The Orchard-Sony Music

Plutôt qu’un amoureux romantique de plus, José Fallot m’est toujours apparu comme un dur.

Dur et patient comme un félin, un varan qui aurait des feulements lyrique, une hydre à dix casquettes, une panthère, une libellule. Capable d’épauler l’un et l’autre à droite, à gauche, de leur procurer de l’emploi sur des grilles standard ou maison dans ses programmations aux formations multiples. Ou de leur offrir en taulier des lignes et des masses sonores plus exigeantes, conçues la nuit à la torche Wonder dans sa cave, tout en skypant des patrons de clubs. 

Qu’il soit ou non largement reconnu pour cela est superflu, qu’il vénère Abba, les Beatles, Miles ou Coltrane, totalement indifférent. Qu’il soit un enfant de Steps plus que de Weather, d’Ellington, de Petrucciani ou de Smith et Wesson, quelle importance? Trop efficace et trop modeste pour briller, ce type est un music lover, un connaisseur et un aficionado, je ne vois pas que conclure d’autre à l’écoute de ce nouvel opus. Accessoirement, un passionné des fréquences basses, voire un compositeur sérieux et un variant réjouissant du hipster morne et abscons pour cercles confinés. Bonheur rare dont il ne faudra pas manquer les apparitions lors de la réanimation générale des scènes et des caves. Abstraction faite si possible des préjugés encore en cours dans certains systèmes auditifs locaux et de la configuration rigide des doigts de pied qui s’y attachent, si ces notions se révèlent maintenues dans le monde d’après.

Bernard Ivain

Un éternel romantique nous revient avec un 4e opus. Une belle série jazz de sonorités fraiches et un vrai amoureux que nous reconnaissons avec plaisir en temps de franches inquiétudes. Le jazz de Jose Fallot, se chante, se balance et se murmure comme un parfum d’avant l’été, comme un regard nonchalant. C’est un amoureux éperdu de larges espaces et de montagnes et sa musique est un champ joyeux jamais ennuyeux. Jazz et solos se succèdent indéfiniment mais ici les solos répétitifs ont laissés la place une intelligente forme astrale d’instruments a vents et de basses romantiques.

Jazz oui, mais un jazz diffèrent, heureux et pétillants comme un deconfine qui retrouve sa première terrasse. Un premier cafe, un premier regard… un premier rendez vous amoureux…. Et nous somme au 4e rendez-vous amoureux !!!

Hellen Page

  • 01 – Minor Circle
  • 02 – Sides
  • 03 – The Way
  • 04 – Joyeux Rameur
  • 05 – Annecity Blues
  • 06 – Escape
  • 07 – Blues in 8 to 12
  • 08 – Arsenic Blues
  • 09 – What’s Your Game
  • 10 – The Way They Show Us
  • 11 – When I’m 64

INSIGHT (Original Motion Picture Soundtrack)

INSIGHT (Original Motion Picture Soundtrack)

Director Ken Zheng, Livi Zheng

Music by Sid De La Cruz

Label Plaza Mayor Company Ltd

Jian (Ken Zheng) is a counter terrorism agent who blends his skills as a martial artist and clairvoyant to bring the world’s most nefarious individuals to justice. This lone wolf is is forced to make an unexpected detour to Los Angeles upon receipt of the devastating news of a cover up surrounding his brother’s alleged suicide. With the reluctant help of LAPD detectives, Abby (Madeline Zima), Carl (Tony Todd), and Captain Duke (Keith David), the unlikely group become involved in the investigation. Jian and Abby fight against a high-tech criminal (Sean Patrick Flanery) looking to exploit the brother’s gifts in his own quest to power.

Les musiques de film d’action sont difficiles et souvent se borne a de l’habillage. Il y a eu les grands James Bond, dont on ne retient que le thème d’entrée et de fermeture de Lalo Shiffrin, il y a de grand absent, car c’est une musique qui épouse l’image a défaut d’épouser la musique elle-même. Le cinéma américain est exigeant et des compositeurs exige plus du Sound Design que du contenu mélodique. Il est un des compositeurs qui s’exerce au style avec panache : Sid de la Cruz. Dans une modestie qui n’appartient qu’a lieu, Sid est un de ces fabricant de magie et d’intemporalité. Sur le film INSIGHT, il a eu le courage du thème original, la palette du design et le regard de construire une bande originale, digne de ce nom. Il y a de la recherche, de l’innovation, les sounds, les thèmes. Sid De La Cruz a mis beaucoup de lui-même pour trouver le bon ton, le bon son.
Ecoutez et re écoutez Insight.
Hellen Page

Director’s Statement on Insight’s Original Soundtrack  

Statement from Livi Zheng & Ken Zheng Insight is a movie that includes several different cultures and also a story with elements of science fiction.  Therefore, it was impossible to imagine Insight without interweaving several different genres and categories of music. The instrumentals that augmented Insight’s story were heavy on electronic synths, strings, brass and percussion. I choose these musical scores to fit with the diverse martial arts styles of action scenes.  We even used special compositions to highlight our use of drones and other modern weapons as props in the movie. In the Warehouse Fight Club scene, staged in an underground caged fight in China, the music not only included the strings and brass but also the Guzheng, a traditional Chinese instrument.  In theJian in Syria scenewe used instruments such as the Qanun, Riq, Darbuka, & Zil to reflect the local culture of the scene while remaining authentic. The soundtrack of Insight matches these scenes of the movie as an audio and visual is a journey through the world.

Sid De La Cruz, Composer

The score for Insight was fun to create. It’s a hybrid of orchestral and synth instruments. This is a bit different from my other scores in that it was requested not to use any woodwinds. Also, there were some cues where high strings were not used as well. I had to be creative and think of other ways to approach the music. Because the film deals with an element of science fiction, I feel that electronic instruments suit the film very well and help tell the story from the side of science fiction. Several of the cues tie in with photography of the film. For instance, in the track, “Apartment Fight”, some of the fighting leads to the kitchen. In the score, there are metallic instruments that help simulate kitchenware, pots, pans, silverware, etc. In the track, “Jian in Syria”, uses Middle Eastern melodic and percussive instruments are introduced and take and help contribute to the action music.