Dascha Dauenhauer

Dascha Dauenhauer, born April 10, 1989 in Moscow, isn’t your average film composer—she’s basically a sonic shapeshifter. Her music has this wild way of sneaking under your skin, especially if you’ve caught Berlin Alexanderplatz, Blood Red Sky, or Jibril. Honestly, she’s not just slapping notes together; there’s this raw, emotional punch in her scores that grabs hold and refuses to let go. You hear her work and it’s like, wow, someone’s actually paying attention to the chaos and beauty in a scene. She moved to Berlin when she was a kid, and you can tell—her sound is this crazy mix of Russian roots and Berlin’s gritty, unpredictable energy. She’s classically trained (yeah, she’s got the chops), but she’s not afraid to mess with electronics, weird samples, or just straight-up left-field ideas. You’ll catch these influences in Berlin Alexanderplatz, where the music’s almost a character itself, twisting and turning with Francis’ journey. In Blood Red Sky, she takes things up a notch: the score’s got this pulsing, nervous energy, practically making your heart race before you even realize what’s happening. And with Jibril, she dials it back, getting quiet and intimate—like she’s eavesdropping on secrets you’re not supposed to hear. People in the industry have started waking up to her style—she’s snagged a bunch of awards and her name keeps popping up on those “composers to watch” lists. If her music feels cinematic and alive, it’s because she’s living and breathing these stories right along with us.