The transience of memory is a central theme of Alain Resnais's story of love and horror in Hiroshima—and the theme of the film's soundtrack.
The scores of composers such as Ennio Morricone and Bruno Nicolai have remained popular decades after they were written and, testament to their autonomous strength, have thrived when separated from the context of their original films. Hélène Cattet and Bruno Forzani are fans, and in their feature films Amer, The Strange Colour of Your Body’s Tears (L’étrange couleur des larmes de ton corps, 2013), and Let the Corpses Tan (Laissez bronzer les cadavres, 2017) they have showcased an array of cues sourced from such scores.
“Magic is everywhere” in Dario Argento’s original “Suspiria,” and so too is music.
The score for Alejandro González Iñárritu’s film by the Japanese composer uses an evocative sound palette integrating ambient sounds.
Park Chan-wook’s “Stoker” (2013) is an unconventional coming-of-age film in which the piano emerges as a vital player.
The retro-romanticism of Air's Moog-heavy electronica proved an inspiration for Sofia Coppola's debut feature.
Jon Brion's score for Michel Gondry's film sonically maps the internal and external tumult of a heartbroken soul.
For the film's score, director Jim Jarmusch enlisted his friend, the musician and songwriter Tom Waits.
A soundtrack mixing George Auric's folkloric melodies with electronic composer Daphne Oram's sound design disorientates and terrifies.
High school girls are cheering, yelling, laughing as they take part in a game of volleyball, an everyday scene that could be taking place in any high school, anywhere. The girls are seemingly confident; strong and resilient. That is, all the girls bar one, whom we soon learn is named Carrie (Sissy Spacek). After she misses a shot that causes her team to forfeit the match, a chorus of defeated whines erupts and the girls reprimand Carrie en route to the locker room. “Look at her. Just standing...
“When a child was a child…”