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In stark contrast, the film takes an even more solemn tone when it transitions back into Gunadttir's score, which has grown more tender. A title card points to "The moment the circus began." Stock footage zooms in on an abandoned circus train as the score strains, then swells and plummets. "This is the beginning," it eventually declares. This isn't music to replace the movies' jarring tone, but it's an instrumental segue that cuts in just right. Paul Benjamin, a British musician who co-directed the movie, will be the first to tell you that it's his favorite track.
“A certain feeling of desolation is what we are trying to communicate” said Ira last year in a frank interview for the Doha festival. Every time we hear the word travelled, or the mention of mother, or the experience of the desert, or even the night, you get an image of Chloe and her desert companions in the midst of their ordeal.
The sound of the desert is what, more than anything, seems to carry the audience through the movie, especially in the quieter moments between Lydia and her rock companion. At other times, the symphony carries her through the theater, making the lively shots of the film dance across the screen; or, it registers the sounds of young children, like an innocent game of nunchuck and soccer ball between Lydia and her son. Usually, it serves as a soundtrack to the movie’s most intense images: Theatrically, Lydia meeting the duke (a nicely Hitchcockian appearance, with the ominous sound of a train closing in), girluously dancing on the back of a crocodile in the Saharan desert, or the climactic finale in which Lydia becomes the sea, assailing the villa. d2c66b5586
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