Films · Aneta
You can't manufacture emotion. It has to come from the material, not from the score.
Writing music for a true crime documentary about a real death.
So the score works by friction. Nothing lands where the ear expects it to. The effect is a kind of seasickness — a swaying, unmoored feeling, a distrust you can't put your finger on. The voices do something the rest of the score can't. They reach beneath the surface of the case, toward the person everyone is talking about. That, more than anything, is what the film is about.
The instrumental palette
01CelloSharp, raw, suspicious — an instrument that asks and gets no answer. Its lines, full of pronounced glissandi and portamenti, slide against the voices instead of settling with them.
02VoicesAbstract female voices drawing on the phrasing of early music. They never quite meet the cello — and they are the part of the score that reaches toward the person at the centre of the case.
03ElectronicsLong pulsing lines built from synthesizers and abstract percussion, carrying the investigative side of the film: the procedure, the timeline, the accumulation of facts.
In the studio
Recorded in a chamber setting at my own studio, with Jiří Šlechta, concertmaster of the South Bohemian Philharmonic, alternating with me on cello.
Listen · Original soundtrack
Teaser & trailer
Credits
DirectorJiří SádekProductionDonArtMusicJan ŠléškaCelloJiří Šlechta · Jan ŠléškaRelease2024