Uèle Lamore: “There is room for everyone in the film music industry”

Specializing in the mixture of sound textures, the young feminist response composer returns to the relationship between images and sounds.

When we meet Uèle Lamore, what strikes immediately is her look and her diction: totally speed and incredibly ugly back. Both in the tempo and completely free.

If you do not know this gifted that everyone is starting to tear out, know that she has several strings to her bow: graduate of Berklee, she is at the same time composer, orchestra chef and founder of several formations (including the storm orchestra). She quickly imposed herself by writing arrangements for the others (Agar Agar, Grand Blanc or Etienne Daho), and at the 2022 Cannes Festival, she came to defend the music she made up for two films. The Court of Aissa Maïga, No feministwhere his music takes on oriental accents, and the documentary Feminist response by Marie Perennès and Simon Depardon who follows the movement of the Colleux against sexual violence. A committed work that will return this Thursday evening to France 4, and that First advise you:

“They are called the Colleuses. These feminist collectives who display on the walls, messages of support for the victims and slogans against the feminicides. For this documentary, Marie Perennès and Simon Depardon went to meet them in 10 cities, showing behind the scenes of their actions, the tensions that this can arouse and capture their words, their exchanges, without intervening, without the slightest voice. Not reducing or caricating their words. We can sometimes tickle what they say but the filmmakers to marry these young women at war against street harassment, sexist violence and machismo without distributing good and bad points is particularly relevant.

Uèle returns here to what Bo’s composition represents in his nitrogen career, and his desire, his visceral need to forge links between all music, all sounds and all horizons …