Hania Rani composed this score for Joachim Trier's film without seeing a frame of footage. She worked from the script alone, building themes around three characters and the Oslo house where much of the story unfolds. The approach shows: these ten pieces feel exploratory rather than locked to picture, more like chamber sketches than conventional film music.
She recorded at Abbey Road and Polish Radio studios, then spent time in the actual film location with a sound engineer, capturing the apartment's ambient noise and playing its piano. Those field recordings surface as texture. The writing leans on sparse piano figures, sustained strings, and long stretches of near-silence. It shares territory with her previous solo work but pulls back further, leaving more air in the arrangements.
Anyone drawn to restrained modern classical will find something here, though it asks for patience. This is not music that announces itself. The mood stays interior and the pacing is deliberate. If you came to Rani through Esja or Home, this continues that line but with less decoration.
