Films are a way of finding ourselves, therein lies what we aspire to, what frightens us, what we boast of, and even fear. In a certain way, the seventh art also has the power to transport us to worlds outside our own, galaxies and dimensions; images that not only dilate the biological pupils but also the mental ones, that leave for some time the earthiness of everyday life, the imagination is submerged in the tenebrous pleasure of uncertainty.

Cinema has offered us countless implausible and beautiful, breathtaking scenes, but they would be no more than a succession of compositions, dynamic and elegant cuts without the painful emotions at the heart of the story, which in harmony with the music adds another organoleptic property to this art.

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This music is inexorable to the film and even, on several occasions, more important than the visual narrative per se. Stanley Kubrick spent entire afternoons "listening to his films" (Kemp, 2021, para. 4) trying to find out what kind of music a scene or sequence cried out for, what melody could give space for laughter or; these sounds do not always have to come from an organised music studio in New York or London, but can come from anywhere. Russian director Tarkovsky despised music made for film and preferred to fill the gaps with "Only atmosphere, only organisation of sounds and noises [...]"(Hollerweger, 2021, p. 1).