{"id":22318,"date":"2025-06-08T19:04:59","date_gmt":"2025-06-08T19:04:59","guid":{"rendered":"https:\/\/theamericanfrenchfilmfestival.org\/?page_id=22318"},"modified":"2026-02-04T18:57:12","modified_gmt":"2026-02-04T18:57:12","slug":"film-composers-at-tafff","status":"publish","type":"page","link":"https:\/\/theamericanfrenchfilmfestival.org\/film-composers-at-tafff\/","title":{"rendered":"FRENCH FILM COMPOSERS AT THE FESTIVAL"},"content":{"rendered":"
[vc_row][vc_column][mk_padding_divider][vc_column_text css=”.vc_custom_1760232920642{margin-bottom: 0px !important;}”]\n

FRENCH FILM COMPOSERS AT THE FESTIVAL<\/h2>\n

<\/h2>\n[\/vc_column_text][mk_padding_divider size=”5″][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=”custom” css=”.vc_custom_1729726769234{margin-bottom: 20px !important;}” accent_color=”#d41953″][mk_padding_divider][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1760232927574{margin-bottom: 0px !important;}”]\n

Music is an essential part of the creative process in film and television. In 2025, the festival is proud to shine a spotlight on four composers, with the support of SACEM, by inviting them to present their films and series to the festival audience. A global leader in collective rights management, SACEM plays a vital role in cinema and television in France, supporting composers through its dedicated programs and championing the essential place of music in storytelling, where it enriches narratives, conveys emotion, and enhances the power of audiovisual works.<\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][mk_padding_divider size=”10″][vc_column_text css=”.vc_custom_1760191924813{margin-bottom: 0px !important;}”]\n

Presented in association with<\/h5>\n[\/vc_column_text][mk_padding_divider size=”20″][mk_image src=”https:\/\/theamericanfrenchfilmfestival.org\/wp-content\/uploads\/2025\/10\/screenshot-2025-10-11-at-07.03.42.png” image_size=”full” link=”https:\/\/www.sacem.fr” target=”_blank” align=”center”][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=”custom” border_width=”2″ css=”.vc_custom_1760202913498{padding-top: 20px !important;}” accent_color=”#660084″][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][mk_image src=”https:\/\/theamericanfrenchfilmfestival.org\/wp-content\/uploads\/2025\/10\/guillaume-roussel-2.png” image_width=”500″ image_height=”500″ frame_style=”border_shadow”][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1760369117476{margin-bottom: 0px !important;}”]GUILLAUME ROUSSEL (13 DAYS 13 NIGHTS, DOG 51)
\nTAFFF 2025<\/span><\/strong> FOCUS ON A COMPOSER.
\nMASTERCLASS ON MONDAY NOVEMBER 3rd (3:00 pm~3:45 pm) Truffaut Theater. Free admission<\/em><\/span><\/strong><\/p>\n

With a dual French American musical background, Guillaume Roussel is a composer whose work bridges European sophistication and the energy of American cinema. Trained in classical music, jazz, and orchestral conducting, he has established himself internationally across film, television, and animation.<\/p>\n

His scores include Expendables 4<\/em>, Black Beauty<\/em> (Disney+), BAC Nord<\/em>, and The Three Musketeers<\/em>, both of which earned him C\u00e9sar nominations for Best Original Music. After conducting the London Philharmonic Orchestra at Abbey Road in 2006, Roussel settled in Los Angeles and joined Hans Zimmer\u2019s Remote-Control Studios, contributing to Pirates of the Caribbean: On Stranger Tides<\/em> and The Smurfs<\/em>.<\/p>\n

He has developed lasting collaborations with writers\/directors C\u00e9dric Jimenez (BAC Nord<\/em>, Chien 51<\/em>), Martin Bourboulon (The Three Musketeers<\/em>, Car\u00eame<\/em>), and J\u00e9r\u00f4me Salle (Kompromat<\/em>). In 2025, his work includes 13 Days 13 Nights<\/em> (Cannes Official Selection), Car\u00eame<\/em> (Apple TV), and Chien 51<\/em> (U.S. Premiere at TAFFF 2025).<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][mk_padding_divider size=”10″][vc_separator color=”custom” border_width=”2″ css=”” accent_color=”#660084″][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][mk_image src=”https:\/\/theamericanfrenchfilmfestival.org\/wp-content\/uploads\/2025\/10\/photo-robincoudert_luciebelarbi_8392-rob-coudert.jpeg” image_size=”full” frame_style=”border_shadow”][\/vc_column][vc_column width=”1\/2″][vc_column_text margin_bottom=”0″ css=”.vc_custom_1766035130652{margin-bottom: 0px !important;}”]ROBIN COUDERT (ROB) (A PRIVATE LIFE, COLORS OF TIME<\/em>)<\/strong><\/p>\n

Robin Coudert\u2014known professionally as ROB\u2014is a musician, composer, and producer whose work bridges pop, electronic, and cinematic sound. Trained in classical trumpet, piano, and synthesizer, he began composing electronic music at age 10 and later studied at the Beaux-Arts in Paris.<\/p>\n

Discovered by the Source label through members of Phoenix, he released his first EP Musique pour un enfant jouet<\/em> in 1998, followed by the albums Don\u2019t Kill<\/em> (2001) and Satyred Love<\/em> (2002). A long-time collaborator of sound engineer Jack Lahana, ROB has also worked with artists such as S\u00e9bastien Tellier, Phoenix, and Aliz\u00e9e.<\/p>\n

His film credits include Belle \u00c9pine<\/em>, Populaire<\/em> (COLCOA 2013 – C\u00e9sar nomination for Best Original Music), Maniac<\/em>, Revenge<\/em>, Made in France<\/em> (COLCOA 2016), and Le Bureau des L\u00e9gendes (COLCOA 2016)<\/em>, for which he composed the music for all five seasons. From his Paris studio Hippocampus, co-founded with Jack Lahana, ROB continues to explore new creative territories across film, television, and music.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][mk_padding_divider size=”10″][vc_separator color=”custom” border_width=”2″ css=”” accent_color=”#660084″][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][mk_image src=”https:\/\/theamericanfrenchfilmfestival.org\/wp-content\/uploads\/2025\/10\/photo-delphine-malaussena.jpeg” image_width=”500″ image_height=”450″ frame_style=”border_shadow”][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1760302584785{margin-bottom: 0px !important;}”]DELPHINE MALAUSSENA (CASSANDRE, THE SEDUCTION<\/em>)<\/strong><\/p>\n

Delphine Malauss\u00e9na is a French composer whose music blends instrumental writing with sound design and electronic textures. A 2022 Berlinale Talents alumna, she received the Revelation Composer Award at the Les Arcs Film Festival in 2023 and the Michel Legrand Revelation Prize at La Baule for The Blaze<\/em> written and directed by Quentin Reynaud.<\/p>\n

Her recent credits include Le Roi Soleil<\/em>, the HBO series The Seduction<\/em>\u2014presented at the festival this year\u2014and Junkyard Dog<\/em>, for which she earned a C\u00e9sar nomination for Best Original Score. She also composed for Cassandre<\/em> (TAFFF 2025), Oxana<\/em>, and Winter in Sokcho<\/em>.<\/p>\n

Earlier work includes Final Set<\/em> (U2C Revelation Talent Award) and Moon, 66 Questions<\/em> by Jacqueline Lentzou (Berlinale 2021). In 2025, she continues her ascent with new collaborations, including the upcoming film by writer\/director Emmanuel Courcol.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][mk_padding_divider size=”10″][vc_separator color=”custom” border_width=”2″ css=”” accent_color=”#660084″][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][mk_image src=”https:\/\/theamericanfrenchfilmfestival.org\/wp-content\/uploads\/2025\/10\/chloee-theevenin-by-alexandre-de-la-madeleine-1.jpg” image_width=”500″ image_height=”450″ frame_style=”border_shadow”][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1760203177784{margin-bottom: 0px !important;}”]CHLO\u00c9 TH\u00c9VENIN (GURU)<\/strong><\/p>\n

Winner of the 2022 SACEM Grand Prix for Electronic Music, Chlo\u00e9 Th\u00e9venin is a pioneering figure whose music \u201ctriggers images as much as it accompanies them\u201d (Philippe Azoury). Since 2015, she has composed original scores for several feature films, including Arthur Rambo<\/em> by writer\/director Laurent Cantet and Blanquita<\/em> by writer\/director Fernando Guzzoni (Best Screenplay Award, Venice Film Festival 2022). She was nominated for the 2024 Prix Lumi\u00e8res and the France Musique\u2013SACEM Listeners\u2019 Award for The Mountain<\/em> written and directed by Thomas Salvador (SACD Award, Directors\u2019 Fortnight 2022).<\/p>\n

In 2025, Chlo\u00e9 composed three new soundtracks, collaborating with Yann Gozlan on Gourou<\/em>, starring Pierre Niney, and with M\u00e9lissa Drigeard on Le Gang des Amazones<\/em>. She also created the score for the closing film in competition at TAFFF 2025, Guru<\/em>.<\/p>\n

Founder of the Lumi\u00e8re Noire label, she has performed at the Paris 2024 Paralympic Games and continues to innovate across music, theater, dance, circus, and visual art projects.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][mk_padding_divider size=”10″][vc_separator color=”custom” border_width=”2″ css=”” accent_color=”#660084″][\/vc_column][\/vc_row]\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][mk_padding_divider][vc_column_text css=”.vc_custom_1760232920642{margin-bottom: 0px !important;}”] FRENCH FILM COMPOSERS AT THE FESTIVAL [\/vc_column_text][mk_padding_divider size=”5″][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator color=”custom” css=”.vc_custom_1729726769234{margin-bottom: 20px !important;}” accent_color=”#d41953″][mk_padding_divider][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1760232927574{margin-bottom: 0px !important;}”] Music is an essential part of the creative process in film and television. In 2025, the festival is proud to shine a spotlight on four composers, with the support of SACEM, by inviting them […]<\/p>\n","protected":false},"author":4,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-22318","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/theamericanfrenchfilmfestival.org\/wp-json\/wp\/v2\/pages\/22318","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/theamericanfrenchfilmfestival.org\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/theamericanfrenchfilmfestival.org\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/theamericanfrenchfilmfestival.org\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/theamericanfrenchfilmfestival.org\/wp-json\/wp\/v2\/comments?post=22318"}],"version-history":[{"count":34,"href":"https:\/\/theamericanfrenchfilmfestival.org\/wp-json\/wp\/v2\/pages\/22318\/revisions"}],"predecessor-version":[{"id":25440,"href":"https:\/\/theamericanfrenchfilmfestival.org\/wp-json\/wp\/v2\/pages\/22318\/revisions\/25440"}],"wp:attachment":[{"href":"https:\/\/theamericanfrenchfilmfestival.org\/wp-json\/wp\/v2\/media?parent=22318"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}