Experimental musician Elvin Brandhi is confirmed as the composer behind the evocative soundtrack for Beatrice Gibson’s debut feature film, ‘At Night,’ which premiered recently at the 79th Locarno Film Festival. This revelation corrects an initial perception, sparked by the festival’s artistic director, Giona A. Nazzaro, who likened the film’s nocturnal, ambient soundscapes to the iconic work of Brian Eno. Brandhi’s contribution marks a significant milestone as her first-ever feature film score, bringing her distinctive improvisational and sound artistry to the cinematic realm.
Gibson’s ‘At Night’ is an experimental and "autofictional" narrative exploring the intimate lives of six women in Paris. The film weaves together their hopes, dreams, sexual desires, and anxieties about the future against the backdrop of the city’s nightly sights and sounds. Its unique rhythm and mood were central to its presentation in the Filmmakers of the Present competition program, captivating critics and audiences alike with its profound exploration of female friendships and shared narratives rarely brought to the forefront.
Giona A. Nazzaro, Locarno’s artistic director, described the film to The Hollywood Reporter as "this nocturnal, ambient film where you can almost hear music that makes you think of Brian Eno. If ‘At Night’ were a record, it could be music for lonely people at night." While Nazzaro’s comparison highlighted the film’s immersive sonic quality, it inadvertently created a buzz around Eno’s potential involvement. However, the true architect of the film’s intricate sound tapestry is the Welsh-born, globally recognized artist Elvin Brandhi.
Elvin Brandhi, whose real name is Freya Edmondes, has carved out a unique space in the experimental music scene as an improvising voice and sound artist. Her work is characterized by an inventive use of unusual beats derived from field recordings, her own voice, tape manipulation, vinyl, and various instruments. Brandhi’s diverse collaborative projects include the father/daughter "noise-improv berserkers" Yeah You, Pollution Opera with Nadah El Shazly, the duo Avril Spleen with Joseph Jadam, the band PFL with Peter Kutin and Lukas König, and the Bahk project with Daniel Blumberg. Her extensive experience across these varied sonic landscapes prepared her for the distinct demands of crafting a feature film soundtrack.
The collaboration with Beatrice Gibson on ‘At Night’ represents a significant departure from Brandhi’s usual performance-centric and "in your face" musical style. She confirmed that composing for a film required a different focus, one that emphasized subtlety and integration rather than overt presence. "With a soundtrack, you have to almost make it sneak in from the sides, or be somehow invisible, coming out of the background," Brandhi explained. This shift presented a unique artistic challenge, demanding a nuanced approach to composition that complements the film’s visual and narrative elements without overpowering them.
Brandhi’s background as an audiovisual artist, with prior experience in short films and self-made music videos, provided a foundational understanding of the interplay between sound and image. However, the scope of a feature film required a more sustained and collaborative effort. Her connection with Daniel Blumberg, an artist known for bridging the experimental scene with Hollywood cinema, also provided valuable insight and experience, particularly from her vocal contributions to films like ‘The Brutalist’ and ‘The Testament of Ann Lee.’ This experience, though not a lead scoring role, helped acclimate her to the demands and processes of cinematic sound design.
The setting of ‘At Night’ in Paris, particularly its focus on the city’s metro system, offered a natural entry point for Brandhi’s signature use of field recordings. She noted that the metro, with its inherent noise and specific frequencies, resonated deeply with her artistic sensibilities. This urban soundscape provided an authentic sonic palette that seamlessly integrated into the film’s narrative, enhancing the sense of place and the nocturnal atmosphere. Brandhi herself participated in on-location recordings in Paris, capturing elements from the metro during the shoot, further imbuing the score with the film’s immediate environment.
The creative partnership between Gibson and Brandhi blossomed from an initial coincidence. They first met briefly at the Borealis experimental music festival in Bergen, Norway. A mutual friend, Leonardo Ruvolo, later reconnected them, facilitated by Brandhi’s residency in Alcamo, Sicily, and Gibson’s subsequent move to Palermo. This serendipitous reacquaintance quickly evolved into a close friendship and a highly intimate working relationship, which Brandhi describes as "very intimate and special."
The scoring process for ‘At Night’ was deeply collaborative and began remarkably early in the production timeline. Gibson sought to incorporate sound as much as possible even before principal photography commenced. Brandhi received an early draft of the script, providing initial musical ideas and drafts. A key reference point for Gibson was Brandhi’s collaboration with Palestinian producer/MC Bashar Suleiman, under the name Insin, particularly the track "Kidney Spears." This dreamy, vocal-led piece served as a dynamic blueprint for the desired mood of the film’s soundtrack.
As filming progressed in Paris, Brandhi’s involvement deepened. Beyond field recordings, there was even a scene initially planned for the film featuring her performing live in Paris, highlighting the deep integration of her artistic persona into the film’s fabric. The soundtrack evolved through ongoing dialogue, developing core thematic elements while also crafting specific musical cues for particular moods or narrative dynamics. This iterative process also involved editor Liyo Gong, whom Brandhi praised for her strong sense of musicality, stemming from her background as a DJ.
Further enhancing the film’s sonic texture, musician Crystabel Riley contributed drum sounds to the soundtrack. Riley, who also worked on the film as a makeup artist, exemplifies the interconnected, collaborative spirit that defined the production. This layering of talent, drawing from Gibson’s network of non-professional actor friends and influences, underscored the film’s authentic and communal approach to storytelling.
For Elvin Brandhi, ‘At Night’ represents not just a new artistic endeavor but a potential new direction for her career. She expressed a strong desire to continue composing for feature films, finding the experience of entering a story and composing from a different perspective to be highly rewarding. This foray into cinematic scoring could pave the way for more experimental artists to cross into film, particularly as industry figures like Daniel Blumberg actively facilitate these connections between the avant-garde music scene and mainstream cinema. The film’s theme, described in press notes as "a love letter to friendships, relationships, and the quiet yet poignant stories women share together," aligns perfectly with Brandhi’s own collaborative spirit and intimate artistic approach.
The experience of working on ‘At Night’ has also inspired Brandhi to revisit her own audiovisual projects. She noted that her work during lockdown involved extensive filming and editing, and the soundtrack world offers a promising avenue to re-engage with her own film material. This reciprocal inspiration highlights the transformative nature of her first feature film project.
Beyond her cinematic pursuits, Brandhi remains prolific in her music career. She is currently preparing for the release of an album with Berlin-based Kenyan musician KMRU under their collaborative name A|||oy. The album, which will be released on KMRU’s label offnot, promises a unique blend, described as "completely different from both of our works." Despite their seemingly contrasting dynamics—KMRU being more associated with ambient music—Brandhi highlights a strong commonality in their approach to field recordings, textures, and spaces. The album, crafted during residencies at EMS in Stockholm and Richter Mahr studio in Oxfordshire, features both artists singing and signifies another exciting chapter in Brandhi’s continuous artistic evolution, further cementing her reputation as a versatile and boundary-pushing sound artist.
