— 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, fourth feature by internationally acclaimed director Nadine Labaki, 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.

After winning the jury prize at the 2018 Cannes Film Festival, the film was warmly welcomed at many festivals all around the world, got a Golden Globe nomination and is currently shortlisted for the ‘Foreign Language Film’ category at the Oscars 2019.


“Largely taking his sonic inspiration from the script, Mouzanar spends a long time honing his melodies, feeling that it’s music that ‘should keep the film alive in the brain and soul of the audience, long after they have seen it.’ In his approach, writing music is a ‘physical and organic experience’, where he works ‘like a craftsman, with my own hands, recording, playing and mixing most of the instruments, [and] even building my own preamps with recycled old machines to reach the sound that I want’.”
(Deadline Hollywood - full article here)

Composer Khaled Mouzanar about how Labaki'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, as well 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.’

“But while the trajectory looks unrelentingly grim, Labaki punctuates the ordeal with moments of joy, warmth and humor, while her husband and producer Khaled Mouzanar's orchestral score offers sweet notes of optimistic promise among the often discordant strings and feedback.”
(The Hollywood Reporter - Leslie Felperin)

“Editing is also skilled, and Khaled Mouzanar’s low key music is in perfect harmony with the film’s emotional tenor, accompanying the action without manipulation for most of the way.”
(Variety - Jay Weissberg)