— OST by Khaled Mouzanar



1. Capharnaüm (03:15)
2. Prelude to Eye of God (01:54)
3. Eye of God (04:58)
4. Dawn (03:49)
5. Zeyn Working (00:59)
6. Cockroachman (01:57)
7. Alone (02:35)
8. Rahil (04:25)
9. Yonas (01:35)
10. Capharspleen (02:17)
11. Massenko Waltz (01:40)
12. Sahar (02:45)
13. Underworld (06:00)
14. Prelude to Zeyn (00:46)
15. Zeyn (03:43)
16. Sahar’s Wedding (05:04)


Capharnaüm focuses on a rebellious teen who decides to sue his parents for having brought him into this world when they can't raise him properly, even if only to give him love. The fight of this mistreated boy, whose parents have not lived up to their task, resonates like the scream of all those who are neglected by our system. A universal accusation seen through candid eyes. The cast mainly consists of non-professional actors, whose lives are very similar to those of the characters of the film.


Composer Khaled Mouzanar about how Nadine's move to a more documentary style of film affected the music he produced:
’I asked myself incessantly what kind of music could correspond with all these characters’ lives and all they have to say? What sound would fit the smell of drains, the poverty, the rawness of the subject? I inclined towards a less melodic score than usual. The idea was to accentuate the Mad Max side of things – almost mythological (despite all that reality) – that characterises the landscape of the film, and that I see as an allegory of the future of all large cities. This was achieved using dissonant choral melodies that seem to disappear before they can be grasped, aswell as synth-based electronic sonorities. For that matter, one of the tracks, called The Eye of God ('L'oeil de Dieu'), accompanies a shot of this city, more or less cursed, that seems doomed to this punishment: poverty without hope.

What I absolutely didn’t want was to underline or highlight emotions that were already sufficiently intense, but on the contrary, to strip back the scenes and establish a disturbing atmosphere for the audience, which is in some way brought face to face with its culpability for having been here and done nothing. The aim of the film is to shake up and to move the audience.’