Jan Šléška

European composer · Film & Commercials

my music can light up
what’s hidden within your film

dive deeper

SELECTED WORK

Best heard on headphones or good speakers

FILM

Restore Point

Restore Point Sci-fi detective feature · 2023 · dir. Robert Hloz · Netflix Czech Lion nominee — best music

Aneta

Aneta True-crime feature · 2024 · dir. Jiří Sádek · Netflix Original score

ALL FILMS

COMMERCIAL

Post Bellum — WW2

Post Bellum — WW2 Commercial · 2025 · dir. Marek Partyš ADC Gold 2026 — use of music

Royal Mail — Christmas

Royal Mail — Christmas Commercial · 2024 · dir. Markus Krug Bespoke music

ALL COMMERCIALS

LISTEN

without leaving the page

ALL MUSIC

A SCORE AS AN ORGANISM

Not a set of tracks.
A living organism,
built together with the director. Film music, as I understand it, does not simply accompany the picture and generate emotion. Like the nervous system of a body, every cue is connected to the others — strongly, loosely, or deliberately not at all. These connections trigger events and emotions across scenes, without a line of dialogue or a single visual cue. That is what makes them so strong: they fire on a subconscious level. Change one, and the whole film feels it.

THE MUSICAL SHAPE OF A FILM

Where music meets the film I enter the film early, develop ideas with the director, understand the dramaturgical function of music, and compose precisely to the picture.. before the shooting

01Screenplay
02Starting to sketch dramaturgical map
03Director’s idea
04First music ideas
05Picture lock
06Final dramaturgical map
07Composing to picture
Music

Before I write a note, the director gets one page.

Where music enters, transforms, disappears — and why: where it plays, where it deliberately does not, which themes return and what they trigger without a word, and what the whole film does with tension. A drawing lets us imagine the dramaturgy together while everything is still open — and it is the part of the work that cannot be generated, because someone has to decide what the film is about.

And in commercialsMusic that arrives early lights the film from within.

Bespoke music for commercials

01Client needs
02Agency idea
03Director’s treatment
04Shooting
05Postproduction
Music

Music

RECOGNITION

Czech Lion Nominee · 2023 Restore Point · Best Music

D&AD Winner · Wooden Pencil · 2022 Post Bellum · Sound Design

ADC Czech Creative Awards Winner · Gold · 2026 Post Bellum — WW2 · Music

Cannes Lions Shortlist · 2022 Post Bellum · Sound Design

ADC Czech Creative Awards Winner · Bronze · 2025 Preventive Life Check-up · Music & Sound Design

ADC Czech Creative Awards Shortlist · 2025 Year of Czech Music 2024 · Music & Sound Design

Music+Sound Awards Finalist · 2021 Red Bull F1 · Sound Design

Berlin International Film Scoring Competition Finalist · 2019 Wrapped · Music

Golden Drum Shortlist · 2022 Post Bellum — Gestapo · Audio

WORKED WITH

Films — directors & productions Robert Hloz · Jiří Sádek · Marta Prokopová · Luboš Rezler · Film Kolektiv · Perfilm CZ · Moloko Film · Donart · Maur Film · Artichoke Production Brands & agencies Royal Mail · Pilsner Urquell · Coca-Cola · Škoda · Post Bellum · Kaufland · Česká spořitelna · Telekom · Zlatý Bažant · Kesko Fin · KKCG · Creditas · Prague Tourism · Slovak Radio · Baagl

ABOUT

Jan Šléška is a film composer and music dramaturg — a creative partner to directors and producers. He shapes the dramaturgy of the score from the script stage — music that never pushes the audience, but brings to light what the picture already holds.

FAMU graduate. Scores for the sci-fi feature Restore Point, the true-crime feature Aneta and the animated short Everything We Missed, plus bespoke music for commercials.

He listens for sparks of inspiration in the stillness of the forest. Sometimes the strongest note is the one left unplayed. full bio

tell me about
your film

A first conversation about the film. music@jansleska.com

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Commercials · Post Bellum

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