The soundtrack of *La Vedova Nera* (The Black Widow) mirrors the film itself: a strong homage to Italian giallo, embracing a distinct modernity.
Jean-Charles Bastion, a film music composer (*Paris is Us*, *The World After Us*, *Twenties*, *White Building*…) and member of the experimental duo UZHUR, blends synthesizers, a brass ensemble, mellotron, and percussion into a slow, pervasive mass that exudes sulfur, blood, and sex.
One can discern homages to the soundtracks of Goblin, Carpenter, and Ennio Morricone, evoked with contemporary and sharp sounds. The brass resonates like trumpets of the angels of death, telluric sub-basses make the walls tremble, and angelic celestas barely conceal their malevolent intentions – in what resembles a final black mass before the end of the world.
Interludes reveal the film’s music within the film, a semi-dreamlike, semi-terrifying mise en abyme of a death story.
Composed for fiume and Julian McKinnon’s short film, produced by Melodrama, the soundtrack can also be enjoyed separately from the film, as a dark ambient music album, a window into a frightening and romantic world.
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