The five best film sound­tracks of 2017

By Town­house pre­sen­ter and host of the Sound­track­ing UK pod­cast, Edith Bow­man

Esquire (UK) - - Esquire Townhouse with Dior -


Take away the sound­scape and sound­track from the film, and you dis­con­nect from the ex­pe­ri­ence. Christo­pher Nolan is a ge­nius, and Hans

Zimmer is not just a com­poser but a film-maker who nails it once again.

Blade Run­ner 2049

De­nis Vil­leneuve moved away from his reg­u­lar com­poser Jóhann Jóhanns­son, opt­ing for the

tal­ents of Ben­jamin Wall­fisch and Hans Zimmer, be­cause the score had to be so pre­cise and ul­ti­mately char­ac­ter­is­tic of the orig­i­nal.

This is what cinema should be.

A Ghost Story

Writ­ten and di­rected by David Low­ery who again teams up with com­poser Daniel Hart for a spell­bind­ing sound­track. Even if you only lis­ten to “I Get Over­whelmed” by Hart’s band

Dark Rooms, you will be hyp­no­tised.

Call Me by Your Name

Di­rec­tor Luca Guadagnino has made one of the most beau­ti­ful films I’ve ever seen. Mu­sic

is part of the nar­ra­tive through cen­tral char­ac­ter Elio’s stud­ies, and in the dis­cov­ery of Oliver’s char­ac­ter with the per­fect use of The Psy­che­delic Furs’ track “Love My Way”.

T2 Trainspot­ting

One of two se­quels this year that lived up

to ev­ery ex­pec­ta­tion. Danny Boyle’s re­la­tion­ship with mu­sic through all his films is sen­sa­tional. Hav­ing to match that orig­i­nal sound­track was go­ing to be a tough call: step

for­ward Young Fa­thers and take a bow.

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