In a vibrant discussion at Cannes’ Marché du Film, an international panel of film and music professionals gathered for “Spot the Composer”, an exploration of music’s role in cinema: whether it takes centre stage, quietly reinforces emotion or reshapes a scene’s entire meaning. Moderated by French journalist Perrine Quennesson, the panel uncovered the artistic, narrative, logistical and economic layers of film scoring, revealing that music is not merely an accessory to storytelling, but often its unseen pulse.

Uruguayan composer Florencia Di Concilio and her Brazilian counterpart Mateus Alves opened the session by reframing music as both cultural and deeply personal. Alves, whose work on Kleber Mendonça Filho’s The Secret Agent [+lire aussi :
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interview : Kleber Mendonça Filho, Jul…
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The panel featured real-time examples of how the score transforms a scene’s intent. Alves presented two contrasting cues from Bacurau, one dominant and dramatic, the other subtle and ambient, reflecting his inspiration from Bernard Herrmann and local Brazilian instrumentation.

Di Concilio then shared a poignant excerpt from The Mysterious Gaze of the Flamingo [+lire aussi :
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fiche film] (Un Certain Regard). The original cue, a quirky, offbeat motif, was later replaced with a warm, melancholic trumpet line after deeper collaboration with director Diego Céspedes revealed the film’s core theme: love as contagion. “The new music wasn’t just better; it reframed the scene,” she explained. “It wasn’t just weirdness any more; it became tenderness and humanity.” The French producer of the film, Justin Pechberty (of Les Valseurs), revealed the behind-the-scenes journey: “There was another composer originally. But we realised something essential was missing – the feeling. When Florencia came in, everything shifted. It wasn’t about technique; it was about connection.”

The conversation moved from artistry to logistics, with Pechberty and music supervisor Laura Bell discussing the economic reality of music in independent film. “We don’t begin knowing how much music a film will need,” Pechberty said. “You make your best guess, but inevitably, it evolves.” In France, state funds like SACEM and the CNC often require 1.5% of the total budget to be allocated to music, or a minimum of €20,000, but in small-budget films, flexibility and relationships are key.

Bell, who has supervised scores for Occupied City [+lire aussi :
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One of the most revelatory themes was the invisibility of good scoring, or how great film music often works by not drawing attention to itself. “It’s not always about what sounds good,” said Di Concilio. “It’s about whether the music adds something the audience doesn’t yet feel consciously. Something deeper.” This invisible quality was especially apparent in the “two versions” comparison from The Mysterious Gaze of the Flamingo. The new music, added late in the edit, altered how the audience interpreted the scene, without changing a single line of dialogue.

The panel closed on the theme of collaboration, not just between director and composer, but across the entire production ecosystem. “Music is often the last thing to be considered and the first thing to be underestimated,” Bell noted. “But when done right, it elevates everything.” Pechberty agreed, noting that good music direction comes not just from planning, but also from trust: “You can’t schedule chemistry. When it clicks, it transforms the film.” As film continues to evolve, technologically, geographically and structurally, one truth remains: whether it's a foreground character or a hidden presence, music is always a leading force.