While certain film scores often dominate the conversation, there are countless hidden gems from the 2020s that deserve more attention. These scores, though often overlooked in the spotlight or award conversations, have significantly elevated their respective films. In this article, we highlight some of the most underrated and unique soundtracks of the decade so far.
Flow (Gints Zilbadois, Richard Zalupe)
Favorite Tracks: “Flood”, “Acceptance”, “Flow Away”
With no dialogue to lean on, Flow relies on its visuals and music. Co-composed by director Gints Zilbadois, he uses his compositions to push the film’s story forward, conveying tension, wonder, and isolation. The score blends electronic textures with orchestral swells so loud it creates an overwhelming atmosphere reminiscent of the one the titular cat is thrown in.
Baby Girl (Cristobal Tapia De Veer)
Favorite Tracks: “Whatever You Tell Me to Do”, “Wolves”, “Whatever I Tell You to Do”
Most known for his work on The White Lotus, Cristobal Tapia de Veer used his signature twisting vocal samples and electronics in Halina Reijn’s Baby Girl. His score conveys a feeling of obsession and desire, putting the audience in the shoes of the film’s characters.
Past Lives (Christoper Bear, Daniel Rossen)
Favorite Tracks: “See You”, “Across the Ocean”, “Why are you Going to New York”
In their debut film score, Bear and Rossen deliver a score filled with tenderness and restraint. Using sparse piano, subtle strings, and ambient textures, their music reflects the film’s themes of longing and unspoken connection, lending Past Lives its quietly devastating emotional pull.
Kinds of Kindness (Jerksin Fendrix)
Favorite Tracks: “Hymm — Matia Ponos Stoma Fthonos”, “Hymn — Me Skotosan Oloi Oi Choir”
Jerskin Fendrix’s second collaboration with Yorgos Lanthimos after Poor Things pushed further into the bizarre. A mix of hymnal-style and minimalistic piano-based compositions that are unnerving, off-putting, and a little ridiculous perfectly matching the energy Lanthimos brings to his dark comedy.
A Different Man (Umberto Smerilli)
Favorite Tracks: “Main Theme”, “Metamorphosys”, “The Chase”
Balancing strings with distorted electronics, Umberto Smerilli crafted a score that mirrors A Different Man’s surreal tone and shifting identities. The music never settles into one genre, instead blurring the lines between horror, satire, and comedy. It’s a uniquely off-kilter score that keeps you on edge.
After Yang (Aska Matsuyima, Ryuichi Sakamoto)
Favorite Tracks: “In My Breath Again”, “In the World of My Breath”, “Memory Bank”
Kogonada’s After Yang is a meditative exploration of life, memory, and what it means to be human. Aska Matsumiya’s score, with contributions from Ryuichi Sakamoto, beautifully complements the film’s tone, seamlessly blending minimalist piano, gentle strings, and delicate synths. This fusion not only evokes the story’s near-future sci-fi setting but also preserves the quiet sadness at its core.
The Green Knight (Daniel Hart)
Favorite Tracks: “Now I’m Ready, I’m Ready Now”, “Excalibur”, “One Year Hence”
From Gregorian-style chants to intricate string arrangements, Daniel Hart’s score for The Green Knight immerses the audience in director David Lowery’s medieval world. The music swells and recedes, perfectly underscoring the unorthodox hero’s journey, filled with both triumphs and failures.
The Harder They Fall (Jeymes Samuel)
Favorite Tracks: “Ride Out (Part 2)”, “The Return of Nat Love”, “Showdown/Shootout”
Samuel not only composed the score for his directorial debut The Harder They Fall but also produced a full soundtrack featuring artists like Jay-Z, Kid Cudi, and more. His masterful control of the musical elements of his film allowed him to blend traditional music numbers into the story, creating a unique fusion of film score and musical that mixes classic Western motifs with hip-hop, reggae, and funk.
Love Lies Bleeding (Clint Mansell)
Favorite Tracks: “Louville”, “Love Lies Bleeding”, “Pain is Weakness”
Veteran composer Clint Mansell (Requiem for a Dream, Moon) leans into retro-synth textures to capture Love Lies Bleeding’s gritty, neon-soaked atmosphere. Incorporating electric bass, piano, and percussion, his music mirrors the film’s dark undercurrent, blending organic and electronic elements to create a score that evokes feelings of seduction and suffocation.
X (Tyler Bates, Chelsea Wolfe)
Favorite Tracks: “My God”, “Pearl’s Lullaby”, “Headlights”
Composer Bates and musician/singer Wolfe collaborated to create a creepy, sexy, and unforgettable score for Ti West’s X. Using Wolfe’s spectral vocals and Bates’ gritty production, their music makes X feel like a fever dream — a blend of eerie beauty and horror.
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