Voices and silence
Music is designed around interviews, direct sound and pauses, supporting attention without crowding what the film already communicates.
Documentaries and docu-films
Original music
for documentaries.
I compose music that supports the story without covering real voices, silence or direct sound. The score grows from the relationship between images, edit and point of view: it can support a reconstruction, connect different materials or step back when the subject needs room to breathe.
Story first
A different purpose
for every documentary.
There is no single language for nonfiction film. The musical approach changes with the material, the density of voices and the emotional distance chosen by the director.
Narrative arc
Themes, textures and rhythm can connect chapters and different source materials while maintaining a recognizable direction through the edit.
Presence and space
Some sequences need energy; others need room. Every musical entry should answer a clear narrative need rather than fill silence by default.
Selected work
History, society
and reconstruction.
I Veneti Antichi
— Riding the Myth
Rhythmic writing for battle sequences and a ceremonial register for ritual banquets: two distinct musical functions within the same historical reconstruction.
Non c’è casa
in paradiso
A documentary by Federico Scienza and Manuela Boezio about the housing emergency in Trentino, selected by Bolzano Film Festival Bozen and Trento Film Festival 2026.
From rough cut to post
An ongoing dialogue
with edit and direction.
During the edit
- Spotting the sequences that need music
- A palette aligned with subject and point of view
- First proposals written against picture
Toward delivery
- Organized revision rounds for each cue
- Agreed materials prepared for mix and post
- Support with the Italian SIAE Mod. 109 when required
Frequently asked questions
Before we begin.
Does a documentary need music throughout?
No. Its value comes from narrative function, not quantity. Spotting and editing help determine where music supports the story and where direct sound is already enough.
Can the score begin before picture lock?
Yes. A rough cut is enough to establish palette and musical direction; cue lengths and synchronization can then follow the approved edit.
Can you work with a production outside Italy?
Yes. Cuts, revisions and approvals can be shared and managed entirely remotely, with clear review stages and versioning.
Are you editing a documentary?
Send a brief, a sequence or a rough cut. We can identify where music genuinely helps and which musical language best supports the film.