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

ALEJANDRO KARO

Album MARK

ALEJANDRO KARO

Album MARK

Emotional Melody….

Label Plaza Mayor Company Ltd

For me, as a film music composer, is important to carry out this type of personal projects, because the way of working and producing this music is different from how you normally work music for film.

This new album, besides being a dream that I have had for a long time, it is a gift for me as composer, because in MARK I can make music that is very personal tome and that I really enjoy composing.

Alejandro Karo

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.

BROADWAY

(Original Motion Picture Soundtrack)

BROADWAY

(Original Motion Picture Soundtrack)

Director Christos Massalas

Music by Gabriel Yared

Song “Snow Leopard” by Sillyboy’s Ghost Relatives

Label Plaza Mayor Company Ltd

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 stepfathers 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.

Christos Massalas

Director

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.

Gabriel Yared

April 2021

TOXICA

(Original Motion Picture Soundtrack)

TOXICA

(Original Motion Picture Soundtrack)

Director Rona Walter

Music by Nir Perlman

Label Plaza Mayor Company Ltd

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.

Le Dernier Piano – Broken Keys

Original Motion Picture Soundtrack

Le Dernier Piano – Broken Keys

Original Motion Picture Soundtrack

Director Jimmy Keyrouz

Music by Gabriel Yared

Plaza Mayor Company Ltd

Cd Digital – Cd Physical Limited Edition

“Festival de Cannes

    Sélection Officielle”

Une musique et des maux. Les notes superflues mais tellement vrais au milieu des morts et des vivants. La guerre entend faire un autre son assourdissant, bouleversant. Ici en Syrie, plus loin au Yemen et maintenant a nos portes en Ukraine.

La vie est fragile, les instants d’une émotion rare. Plus rien n’est protégé, sauf les âmes qui donne du piano, de la voix…

Gabriel Yared est ce peintre d’un chaos de vie, imaginaire d’un printemps qui pourrait éclore, mais les destins se croisent, s’embrouille et parfois c’est le réel qui se dessine entre amertumes et regards vers un ailleurs.

Les notes sont brèves, romantiques et un piano se fait entendre toujours et de plus en plus fort.

Merci de ce moment d’espoir.

Hellen Page

Karim, un pianiste rêvant d’une carrière en Europe, vit dans une ville du Moyen-Orient déchirée par la guerre où les modes de vie modernes ont été interdits par un groupe extrémiste. Il est obligé de vendre son piano pour ramasser de l’argent et partir. Mais les choses s’enchevêtrent lorsque son piano est abattu. Karim se lance alors dans une quête dangereuse pour réparer ses clés cassées…

Broken Keys est un film sur un pianiste rêvant d’une carrière en temps de guerre. C’est un film qui traite également de la poursuite externe et interne de la liberté et de la paix par le protagoniste. Les acteurs et l’équipe ont pris un grand risque lors du tournage à la frontière entre la Syrie et l’Irak, car ces zones sont fortement touchées par la guerre en cours.

J’ai eu une grande et fructueuse collaboration avec le réalisateur, Jimmy Keyrouz. Tout d’abord, Jimmy m’a envoyé son court métrage à regarder, qui était basé sur la même histoire que Broken Keys. J’ai adoré et j’ai décidé d’aller de l’avant avec le projet. Jimmy est venu me rencontrer à Paris et nous avons eu une longue conversation sur toute la musique de piano classique qui devait être utilisée dans le film. J’ai ensuite commencé à travailler sur mes thèmes principaux pendant qu’il tournait. Il m’envoyait quelques scènes pour que je les regarde, et donc ça allait et venait.

J’ai ensuite commencé à travailler sur mes thèmes principaux pendant qu’il tournait. Il m’envoyait quelques scènes pour que je les regarde, et donc ça allait et venait. Nous nous sommes revus à Paris et avons passé quelques jours à parcourir la musique que j’ai composée, à réfléchir et à comprendre les choses ensemble. Jimmy est très musical et comprend les capacités et les qualités de la musique qui élèvent les images et engagent le public. Pour moi, c’est la collaboration idéale entre un metteur en scène et un compositeur. Broken Keys est un film remarquable qui parle à mon cœur, car il parle du pouvoir de la musique alors qu’une nation est en guerre.

Gabriel Yared – Composer

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

SIMPLE WOMEN

(Original Motion Picture Soundtrack)

SIMPLE WOMEN

(Original Motion Picture Soundtrack)

Director Chiara Malta

Music by Olivier Mellano

Song “Kool Thing” by Sonic Youth

In this innovative fiction debut from Chiara Malta, a director with epilepsy trying to make a film about the life of famed Romanian actor Elina Löwensohn discovers that her real-life subject bears little resemblance to the star she idolized.

Federica (Jasmine Trinca), a clumsy and graceless Italian director, had her first epileptic seizure on Christmas Day 1989, while watching the execution of dictator Nicolae Ceausescu and his wife Elena on television. Since childhood, her only passion was cinema, and one film in particular played an important role: Hal Hartley’s Simple Men, in which Romanian actor Elina Löwensohn has an onscreen seizure. For Federica, it was a critical moment of reflection and connection.

Director Chiara Malta was inspired by a meeting with the real Elina Löwensohn, an experience that started her questioning what it is that exists behind a simulacrum. In her tender, playful, and multi-layered fiction debut, she crafts a film that cleverly toys with perceptions and projections. Guiding us through the unconscious, Malta marches her characters from realism to the realm of magic realism, all the while weaving a captivating fable about idol worship and identity. The hypnotizing and innovative Simple Women proceeds like a colourful matryoshka: with the removal of each layer preconceived images take on new and spectacular forms.