The surreal Ari Aster trip that leaves the interpretation sovereignty open Beau is Afraid is as unconventional horror film as comedy and one of the most idiosyncratic films of 2023 – at least. The soundtrack by Bobby Krlic also contributes to this.
With a permanent association Synecdoche, New York swelling in the back of your mind is the score of the established Aster confidant and former Haxan Cloak-Electronics Krlic divided into five acts – the disembodied siren Ioanna Gika serves as a red thread, so to speak, whose ethereal onomatopoeic singing guides Beau through his odyssey: in the percussion-heavy, old-fashioned orchestral ending Stuck Outside approximately; the darkly hopeful so soft and warmly lit shades of Suburban Dream or the unreal dreamy Three Things; with the angelic gentleness of the spherical The Forest or the one fairytale-like headed for the shocking horror of an abyss The Attic; as well as the whimsical fantasy-indulging Sail Away, meanwhile The Heavens comforting and forgiving, enchanted with soaring pastoral strings of sacral grandeur.
In between, Krlic builds a world that shimmers mysteriously (Notes), the uncomfortable psychosis boils up again and again into the symphonic (Always With Water), the minimalist suspense (Jeeves Juju) or psychotic bullying (Jeeves Attacks) gives space, but always takes on a supporting, symbiotic, but not dominating role in the overall work.
Which works excellently with the accompanying images (around a once again outstanding Joaquin Phoenix) – and also picks up so atmospherically dense, without any polarizing fronts.
[Was nun folgt ist kein wirklicher Spoiler, aber zumindest dennoch eine kleine Vorwarnung vor den abschließenden Zeilen des Textes, denn] There has to be one point deducted from the rating, however, as the drones used for the flashback scenes are missing on the soundtrack, which articulate their very own magic in their peaceful transcendence.