Alex Aller

As the festival comes to a close, I’ve been reflecting on how this amazing experience has not only brought new friends but also helped me to discover a whole new way of storytelling through immersive cinema. I feel so lucky to have been part of this project, surrounded by such talented and lovely people. This is just the beginning, we’re excited to bring this experience to new cities and venues, so even more people can connect with the story and its powerful visuals. At the end of this post there is a little sneak peek of some of the music I’ve composed for the experience. It’s also part of the soundtrack for the upcoming full length documentary, more on that soon. Thank you all 🙏 @fillosdovento_arapa @obrais_ny @mariafernanda_omorla @villanueva_kno @a.e.f.e @brun0saavedra @kimxrossing @albertojoserey @juanthomas24 @sebbynaz edugrevalderia @sandragarciapagola @hadrian.andre @competitionimmersive @festivaldecannes

The Room Where It Happens Segunda creación junto a @krera que de nuevo me ha vuelto a llevar a tener que estudiar, aprender nuevos estilos y enfrentarme a instrumentos con los que no había trabajado antes. Muy agradecido por confiar en mí una vez más, por ser siempre tan abierto a nuevas ideas y por esa comunicación y motivación constante 💎 Gracias @jose_venditti y @alexlarragapiano por acompañarme con vuestro estilo propio y creatividad. Gracias @dwyr por todas esas grabaciones de batería que nos quedan en el baúl del futuro 🤝 A Isabella por ser la mejor y a estos bailarines increíbles. Ha sido un espectáculo veros interpretar esta pieza que estoy seguro que os cansaréis de bailar. Y mención especial para @rodrigoriboud y su tremendo diseño de iluminación para esta obra ✨ Si TRWIH pasa por vuestra ciudad, no os lo perdáis... Dirección y coreografía: @krera Intérpretes: @katalin_zg , @marclopezn , @raymondnaval , @serenapomer , @teresaa.royo Música original: @alex.aller Ayudante de coreografía: @carladiegolu Diseño de iluminación: @rodrigoriboud Diseño de vestuario: @lacortes19 Dramaturgia: @veronicaronda @serranodavid75 Vídeo: manuel_fernandez_campelho @krera Fotografía: @carlosojedajimenez , @jacmedrano , @andrescarnalla Técnico de iluminación: @paulduvide Producción: Isabella Lima Distribución: @arrasa_artesescenicas Con el apoyo de @centroculturacondeduque , @culturacmadrid , @madrid , CSC Tetuán, Milonga Producciones y @danza_180

"This was meant to find you" 🫂🤍 𝘾𝙤𝙧𝙚𝙤𝙜𝙧𝙖𝙛í𝙖@recuerdonumero7 / @kikeastley y @javier.ara.sauco 𝘽𝙖𝙞𝙡𝙖𝙧𝙞𝙣𝙚𝙨/𝘽𝙞𝙚𝙣𝙣𝙖𝙡𝙚 𝘾𝙤𝙡𝙡𝙚𝙜𝙚 @sofia.baglietto @danielebracciale @somerfebruary @piegentile @kannenglanz @victoria_martro @fra_pole @aserranooo 𝙈ú𝙨𝙞𝙘𝙖 @alex.aller 𝘿𝙞𝙨𝙚ñ𝙤 𝙙𝙚 𝙞𝙡𝙪𝙢𝙞𝙣𝙖𝙘𝙞ó𝙣 @light_by_booth 𝙑𝙚𝙨𝙩𝙪𝙖𝙧𝙞𝙤 @ma.ran.ti.co 𝙋𝙧𝙤𝙙𝙪𝙘𝙘𝙞ó𝙣 @labiennale , Biennale Danza 2024, la Biennale di Venezia

Desert Cowboy Collection directed by Mau Morgó for Atiissu starring Felix Lee. We handled the composition, sound design and mix for this piece, developing both the musical and sonic language together from the outset. The score was shaped in close relation to the edit, working with rhythm, repetition, and space to support the pacing, while the sound design was constructed as a continuous layer across the film, combining environmental textures, foley, and precise gestures such as the finger snap, where timing and detail become part of the structure. A key part of the process was building the monster’s sonority entirely from scratch, focusing on creating a coherent and distinctive presence within the piece. Through layered organic sources, processed recordings, and synthesis, the sound design closely adapts to the materials it is made of metals, zippers, and other elements, informing its texture, movement and presence. All elements were brought together in the mix to maintain continuity and alignment with the visual language established by Olimpic TV. Director: Mau Morgó Production Company: ProdCo ProdCo Co-founders / EPs: Ian Pons Jewell, Zico Judge MD: Jon Adams EP: Ella TG HOP: Sam Levene Producer: Polly Du Plessis Production Assistant: Maisie Spratt 1st AD: James Sharpe DOP: Mauro Chiarello Production Designer: Arthur De Borman Casting Director: Frankie Spence Creative Development: Irl.Work Client: Atiissu Head Of Communications: Jiny Ku Communication Manager: Mijin Lee Communication & Planning Team: Sujin Kim Head Of Branding: Jungyeon Lee Digital Contents Team: Jeong Hwa, Totaek24 Music & Sound Designers: Isilik Studio Edit House: Cabin Editing Company Editor: Carlos Font Clos Producer: Clelland Allen Post House: Olimpic.Tv VFX Creative Director & AD: Cesar Rodrez EP: Sira Mollá Post Coordinator: Dafne Concept Art & Character Design: Noha Manfredi Character Design & Texturing: Valeria Baret Previs & Lead Animation: Nacho Conesa Rigging: Demeter Dzadik CG: Mike Fernández, Daniel Benza, Telmo Garai, Cesar Rodrez FX & Simulation: Quim González Compositing: Juan Manuel Reyes, Nacho Hoyos VFX Supervisor on set: Adrian Durán

Music composition, sound design, and mixing for the new campaign by the Spanish Traffic Authority, directed by Pablo Maestres with creative direction from Ogilvy. Our approach focused on building a sonic language that supports the narrative with clarity and intention. All sound elements were developed from materials directly connected to the story, car mechanics, resuscitation details, environmental cues and shaped to align with the emotional progression of the film. Nothing was added without a narrative purpose. For the music, we worked progressively, allowing the composition and the vocal track provided by the creative team to evolve together. Their interaction shaped the overall tone, dynamics, and structure, with certain musical gestures responding to key moments on screen, such as the judge’s gavel to maintain a coherent relationship between sound and image. The sound design followed the same principle of precision: engine textures, breaths, pulses tied to the medical sequence, and atmospheres processed to support shifts in tension and perception of time. Each layer was conceived to reinforce context and perspective within the story. Production Company: Roma Agency: Ogilvy Client: DGT Director: Pablo Maestres  EP: Pablo García Acón Producer: Laurenaf Head of Production: Carlos Martin Production Coordinator: Maqi Mateos Production Assist: Elba Balmaceda Lerén DOP: Pablo Clemente Focus Puller: Mario Pérez Art Director: Adakarina Acosta Art Assistant: Guadalupe Varadé Stylist: Charo Ferrer Stylist Assist: Pablo Gens, Alberto Aranda Make Up & Hair: Isabel Jimenez Make Up & Hair Assist: Gema Peña Garro SFX: Cesar Alcaide Sound Recordist: Guzmán García Music Composition & Sound Design: Isilik Studio Car Song: Mia Salazar Editor: Arnald Viladomat Color Grading: Marla Colour Grading Postproduction: Hogarth Post Coordinator: Martin Sandlien VFX lead: Javier Fernandez

El invencible verano de Liliana. La adaptación teatral de la obra de @cristinariveragarza ganadora del Premio Pulitzer de Memorias y Autobiografía 2024, protagonizada por la maravillosa @cecilia_suarez dirigida por @fishersoto y con texto de @amarantaosorio se estrena en @centroculturacondeduque del 25 al 30 de noviembre, con todas las localidades agotadas. Ha sido un honor poder encargarme de la composición musical y diseño del espacio sonoro de esta historia junto a un equipo increíble @rassereto @mercurio1969 @claudiosodi_ @ingridsac78 @rousfc @giuliagabetta__ @late_producciones @magnificoent @centroculturacondeduque

LIONEL - directed by our dear friend Carlos Saiz, is finally premiering in the Oficial Selection of Seminci. This project holds a very special place in our hearts. We met Carlos five years ago while working on the teaser for Lionel, and since then, it´s been an intense and beautiful journey, full of learning, creativity and friendship. For the feature, we led the full creative sound direction, focusing on all stages of post-production: sound coordination, sound design, original music, music licensing, and foley ( in collaboration with Pasito a Pasito ). We couldn´t be prouder to see Lionel come to life, a film that explores how family bonds can both sustain and break us, told with the honesty and tenderness that define Carlos´s vision. Produced by Blur , Icónica Produce and Promenades Films.

Icelandic Fields 🎞️🎧(sound on). A photo-sound diary of our last trip to Iceland 🇮🇸

I am beyond excited to share that Fillos do Vento: A Rapa has been selected for the 78th @festivaldecannes as part of the @competitionimmersive For this project, I had the opportunity to compose the original music and handle the entire sound design. I attended during two years the shoot of the documentary on which this immersive experience is based, a featured film that has been in development for many more years and is finally in post-production, with me also leading the music department. With all the sounds I was able to collect during the shoot, we’ve created a 360 sound experience for this specific project by using ambisonics technology thanks to the talent of Alan Fridman @a.e.f.e This mix will be playable on next-generation wireless headphones, capable of offering a multi-user head tracking experience. We’ll be sharing more about the process. Thank you Alan for joining the team. I’d also like to take a moment to thank Xandre for welcoming me into his home and playing every possible Galician instrument for me, and to @uxiamuinho as well for lending her zanfona, percussion, and voice to this music. I’m thrilled to share this wonderful news with my brother @villanueva_kno who made it possible for me to join this project and now our work is headed to the cinema’s mecca together. Thank you always @hadrian.andre for being the bridge. Last but not least, thank you Brais @obrais_ny and the whole team for your trust and dedication and major congratulations on this achievement! See you in Cannes!

[02:11] INTERLUDE, DREAMING [text] I don’t know how to dream. I simply close my eyes and wait. And then, an entire lifetime goes by. I can’t choose when I wake up. The act of dreaming intimidates me. Dreams and desires are powerful forces. I film what I see, afraid of losing it. I never dream of what I film. How much of your life will you spend asleep? How long does a dream last? Four years. Switching off endlessly, four years. I’ve dreamt of them again. What color do the dead dream in? What color does someone without luck dream in? 🔗⚔️ @alex.aller @logga__ @juanmafeliz @macalopz Ángel López Miranda Carlota Cascón Ferrándiz @marcosgalvans @paulalosadalie @silviojqa

Algunas imágenes del concierto de presentación en Vigo. Qué bonito acabar el año de la mejor forma posible, compartiendo con vosotrxs Transmutation, gracias a todxs por haber venido! Deseando compartir nuevas fechas este 2025. 🖤 Gracias a todo el equipo humano que nos ayudó a sacar esto adelante: 🎥 Visuales: @irnsnz 💡 Iluminación: @villanueva_kno 🎚️ Sonido: @tomas_ageitos @moatv_gz 📸 @rociocibes / @miguelmacuelestima 8,11,14 / @pipo_felipe_ii 12,17,19 / 📹 @luisalvarezmusic 5,15

I do not usually post my work for commercials on this page, but it was really fun to do the heavy sound design and music for this stunning Mercedes DC spot directed by @iskendergs Congrats to the whole team 🔥 Prod company. @aprilmayproductions 1stAC. @rafaques Grip. @kalle.kallovsky Lighting. @lighthawk.berlin Editor. @pittiseinzeug Original Music & SFX. @alex.aller Grading. @okaystudio