Oscar-Winning Composer Hildur Guðnadóttir Says Maggie Gyllenhaal’s ‘The Bride!’ Is ‘Very Punk and Very Romantic’ With ‘Lots of Excitement and Violence’

Icelandic composer Hildur Guðnadóttir, who won an Academy Award for her chilling "Joker" soundtrack, has officially signed on to create the score for Maggie Gyllenhaal's upcoming monster film, "The Bride!". This reimagining of the Frankenstein story, featuring Jessie Buckley and Christian Bale, is set in 1930s Chicago and follows the doctor as he enlists a Dr. Euphronius to construct a companion, ultimately resurrecting a murdered woman. Guðnadóttir, known for her deeply atmospheric work, humorously described the initial creative process for the project as being "a little bit nuts."

In a recent discussion following the film's trailer release last autumn, the composer detailed the rich universe Gyllenhaal has constructed for her second directorial feature. She portrayed it as a layered and "intense" world, merging a love story with thriller components and what she terms "the monstrous birth of a woman," filled with considerable excitement and brutality. The film's distinctive tonal blend, which Guðnadóttir identifies as "both very punk and very romantic," was a major draw for her. This duality directly informs her musical strategy, which juxtaposes the raw energy of screaming electric guitar with the grandeur of a traditional orchestra. This approach stems from her conviction that film music should transcend literal interpretation to tap into the subconscious. As she elaborated, "The most effective film music often operates on a subconscious, emotional level rather than a literal one."

Guðnadóttir, a Reykjavík native celebrated for her immersive soundscapes, shared these insights while accepting a career achievement honor at the Zurich Film Festival. During the event, she also presented Nia DaCosta's "Hedda," a modern interpretation of Henrik Ibsen's seminal 1890 play starring Tessa Thompson. The composer expressed a strong artistic affinity for multifaceted female characters, noting that historical portrayals often reduced women to simplistic archetypes. "I’m so interested in these complex women and I try to match their complexity with my music," she explained, drawing a parallel between the intricate psychology of Hedda and that of Lydia Tár, the formidable protagonist she scored for in the film "Tár."

A consistent attraction to complex, often somber narratives defines her career, which includes the Emmy and Grammy-winning score for HBO's "Chernobyl" and the upcoming post-apocalyptic horror "28 Years Later: The Bone Temple." Guðnadóttir admits a personal tendency to "gravitate more towards darkness," an inclination she is consciously examining. She maintains that confronting difficult subjects is crucial, arguing that we must engage with the darker aspects of humanity, from mental illness to disaster, to learn from them. However, director Sarah Polley provided a pivotal challenge on "Women Talking," the film adaptation of Miriam Toews's novel about an isolated religious colony. After an initial reaction of fury to the script, Guðnadóttir was guided by Polley to compose a score that served as a "counterpoint to the horror," aiming for hope and light instead of aggression. She recalls this artistic shift as an invaluable lesson that offered a sense of hope during a disheartening era marked by global hate speech and the erosion of women's rights.

In response to feeling overwhelmed by global affairs, the composer has resolved that silence is not an option. She is committed to using her art to build bridges, a mission that includes launching a small tour to support "Where to From," her first solo album in a decade. The album's cover was designed by the acclaimed French puppeteer and visual artist Giséle Vienne. After nearly ten years away from live cello performances to concentrate on composing and raising her son, she feels a powerful compulsion to reconnect with audiences directly. She is a fervent believer in the communal power of shared musical experiences. "Sitting in a room full of people, listening to music together… It’s so powerful," she enthused, marking this return to the stage as a profound personal and professional re-engagement.