Less is more. That’s what scholars must have been thinking. The nominees this year are not those musics that you leave humming the end of the film or that fill the screen with an emotional epic -and decibels-.
They all generatesound spaces that do not seek confrontation with images, but in no way do they underline them looking for visual complicity.
Fatima Al-Qadiri (The grandmother)
Following an alphabetical order, to appear objective, we will listen first The grandmotherin which Paco Square He locks us up in a house again to suggest a process of vampirization, of reflection on the fear of old age and the transience of beauty; and why not, a love story.
Yet another twist to the horror genre that has found narrative complicity in the electronic textures of Fatima Al-Qadiri (first nomination). Although some musical topics of the genre appear – crescendos, ethereal harps or disturbing and fragile female voices (Emilia Lazo Y Esther Martinez)-, the Los Angeles-based composer moves away from them and challenges us with ambient but dense music; calm, almost reflective in appearance. Even with some melodic hint of oriental descent. But she goes to the field that she knows best: experimental electronics to propagate a diffuse sonority, not emotional, but that hopelessly envelops us with subtle layers of sound. Scary maybe not. Disturbing, very much.
Zeltia Montes (the good boss)
The restlessness also invades us with the final scene -without music- of the good boss. Ferdinand Leon return to comedy, or almost. The truthful and cruel portrait of hypocrisy in a scale factory moves in the fragile balance between drama and parody. Zeltia Montes (on his second nomination) listened to the film and put on the necessary music. Not one more eighth note. And she searched for the sound that would portray that line. And he unveiled it through the timbres, sometimes playful, sometimes sarcastic, of the clarinets.
It is true that they are sometimes accompanied by a small orchestra (Budapest Symphony Orchestra, Joan Martorell); and for a piano; and by a cello and electric instruments. But the loneliness of these woodwind portray, through a single theme, the walks and talks of the patron Bardemas an obsessive dance that undergoes tempo, timbre and harmonic variations to the visual rhythm of moral degradation.
Alberto Iglesias (maixabel)
Our next score starts from the human degradation of terrorism. But Iciar Bollain guides us towards reflection and forgiveness in maixabelaccompanied by the many musical silences, as in the good bossthat contribute Alberto Iglesias (11 awards and 6 more nominations).
Musicalizes the emotional and psychological arc of the protagonists – from rage to forgiveness: for pain and murder, go to Jorge ligeti through the piano (Javier Perez Azpeitia), the electronic treatment, very textural, and the distortion of the beautiful sounds of the strings (Basque National Orchestra); for understanding and tolerance confronts the balanced and apparent simplicity of the musical articulation of Johann Sebastian Bach (a piano and cello duet leads the way) and the choral brotherhood with the song Xalbadorof the poet and singer-songwriter Javier Lettewhich closes the film.
Arnau Bataller (Mediterranean)
This link with your neighbors, which combines guilt and fraternity, is felt by the creators of the NGO The open arms and what it portrays Marcel Barrena in Mediterranean. The wild nature of the island, the wind from the coast and the sound of the sea, in that Mediterranean in false calm, are the sound germ of the score that portrays the death in the water of hundreds of human beings. the sheet music Arnau Bataller (first nomination) arises organically from these natural elements, mixing sound and music. This imitates the waves of the sea, entering and leaving the scene without attracting attention. But it is there, present.
The interpreters of Trash Foursome they touch their bows very close to the bridge, generating the screeching sound that makes us uncomfortable; a whispering voice (susana mendoza) and a great job in electronic programming, complete the austere music that, moving away from the epic, leaves the leading role to the sea and its victims.
George Holan is chief editor at Plainsmen Post and has articles published in many notable publications in the last decade.