François Tétaz

François Tétaz, man, what a wild ride his career’s been. His fingerprints are all over some seriously unforgettable films. You’ve got The Surfer (2024) — that one’s got the sort of raw, pulsing energy that’ll leave you a little winded, honestly. It’s not just the visuals; Tétaz’s soundscapes kind of wrap around you like a second skin. He’s not messing around with those scores, either. Every wave, every heartbeat, you feel it somewhere in your bones. People still talk about that one surf sequence—yeah, the one with the absolutely mental crescendo. Tétaz just gets it. And then there’s Elvis (2022), which… okay, not everyone has the guts to take on the King, but Tétaz dives right in. Some composers play it safe. Not him. He layers old-school rock and roll with this modern, electric twist, and somehow it works. The dude’s got range, and he’s not shy about flexing it. The whole movie vibes harder because of his flair for drama and nostalgia, sometimes both at once. Don’t sleep on Judy & Punch (2019), either. The film’s dark, almost fairy-tale vibe wouldn’t hit nearly as hard without Tétaz’s eerie, whimsical music in the background. He’s got this knack for making you uneasy, then pulling you back with something beautiful out of nowhere. It’s like, what’s next? You never know with him. He’s the kind of composer who makes movies stick in your head long after the credits roll.