[Thor Joachim Haga]

Ola can be a liiiiittle too slow sometimes, in his many ambient explorations, but this one is a gem. Melodic, sensous, kinda grand as it sneaks its way into the subconscious. The film is a great De Palma exercise for Joachim Trier; maybe still my favourite film of his.

[Thor Joachim Haga]

Ola Kvernberg, who is currently working on the new PINCHCLIFFE GRAND PRIX movie (slated for a Christmas release) is an interesting composer who dabbles in jazz, folk music and progressive rock. But he has also done several film scores. This remains his best — using his main instrument violin/fiddle to create these swirling, bittersweet, waltz-like melodies. Although only 16 minutes in length, it’s a shame it has never been commercially released; this is a composer promo.

[Thor Joachim Haga]

Alright….last Nordic recommendation for the day. Ólafur Arnalds is one of the those interesting Icelandic composers that keep the Jóhannsson tradition alive – slowmoving, slightly minimalist, melancholic. Nice guy too, I hung out with him a bit in Cannes some years ago. While this may be his most famous work, I prefer the two 2014 efforts GIMME SHELTER and LIFE IN A FISHBOWL more, the latter still not commercially released, AFAIK.

[Thor Joachim Haga]

Finnish composer Panu Aaltio did some fabulous, lush work for this 2012 documentary (as well as its sequel TALE OF A LAKE), but he seems to have been caught up in various contemporary tropes in recent years(?). Either way, certainly one of the foremost composers from Finland, as I believe I mentioned on the first page already.

[Thor Joachim Haga]

Anyone familiar with Pessi Levanto? Another Finn that has delivered some gems over the years. Listening to his SAATTO-KEIKKA (2017) at the moment, which has some fine Williams-esque passages (in Williams’ delicate drama style). Another one worth noting is OMA MAA (2018).

[Jon Aanensen]

I remember Pessi’s name from the great film DE USKYLDIGE. I don’t remember the score though.

[Thor Joachim Haga]

Yes, DE USKYLDIGE was a fine film, although the sound design-y score doesn’t work that well alone.

There was a curious situation with LA ELVA LEVE (2023), wherein Levanto is credited as composer, yet he didn’t write anything for it. The score was all Ola Fløttum’s. Levanto was credited because they applied for Finnish co-production money (according to people in the production that I spoke with), and they had to fill certain functions with Finnish people to do so, even if said people never did anything for it in the end. Kinda sneaky, if you ask me, but hey – if there’s a loophole in the system…

[Forfatter]

Innlegg