This week, we're joined by Ivor Novello and BIFA-nominated composer Emilie Levienaise-Farrouch, a Paris-born artist who has made quite the name for herself in the last few years. Getting her start building scores for friends in film school who needed music for their short films, Emilie quickly cut her teeth on films like 2018's Only You and 2019's Rocks, before breaking out big in 2021 with her devilish score to Prano Bailey-Bond's British horror film Censor, and 2022's Living, for which she won a Hollywood Music in Media Award for Best Original Score in an Independent Film. Now, she turns those two instincts for exploring death and longing to the latest film from Andrew Haigh, All of Us Strangers, in which a gay man approaching middle age (Andrew Scott) finds himself with the opportunity to spend time with his long-lost parents, who died in a car crash when he was little. Still as young as the day they died, Adam clings to this newfound chance to spend time with his parents, as he navigates an uncertain new relationship with a boy in his apartment building (played by Paul Mescal). Leviennaise-Farrouch's work here is stripped down, bare, as spectral as the ghosts who make up at least half of the film's cast. She combines electronic with acoustic instruments, flitting between analog synths and deep, warm strings to sell Scott's alienation from the world around him and the deep loneliness he feels. Now, Emilie joins me on the podcast to talk about the process behind scoring All of Us Strangers. You can find Emilie Levienaise-Farrouch at her official website. All of Us Strangers is currently playing in theaters. You can also listen to the score on your preferred service courtesy of 20th Century Studios. Support us on Patreon Follow us on Twitter/X at @rightoncuepod