Since April 10, the seventh season of “Black Mirror” has been available on Netflix. The opportunity to note that over the years, the famous dystopian series has called on composers and composites among the most interesting of the moment.
Since its creation in 2011 by the English producer and screenwriter Charlie Brooker, “Black Mirror” has fascinated by his ability to imagine, and sometimes outright anticipate, the way in which new technologies have taken a central, even invasive place, in our lives and the impact they have on our behaviors in society. For the better, but especially for the worst.
Unique in its kind, this anthology series, which has just published its seventh season, does not hesitate to open the door to experiments and sharp work of the cream of contemporary creation. Each episode of “Black Mirror” is designed as a short film, produced around an autonomous script, unrelated to the other episodes.
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Larger resources from the third season
Thus, the cast and the technical team change from one chapter to another, but also the composers and composers of the soundtrack. And if during the first two seasons, budgetary constraints pushed production to choose mainly electronic atmospheres, a change of course occurred from the third. The Netflix diffuser becomes the main producer of “Black Mirror” and the series rises in grade. The means are more important, and we see celebrities appear in the generics.
And music is not to be outdone. These are now renowned composers of the big screen or the international music scene that lend their talents to “Black Mirror”. The tone is set from the first episode of the third season, “Nosedive”, with music entrusted to the German Max Richter, neoclassical star. It brings a little melancholy within the usual darkness of the sounds of “Black Mirror”.
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Well -installed artists and newcomers
Over the seasons, lovers of original bands can recognize well -installed names in the cinematographic landscape like Ryuichi Sakamoto (“Furyo”, “The Revenant”), Atticus Ross (“The Social Network”, “Soul”), Clint Mansell (“Requiem for a Dream”, “Black Swan”), Mark Isham (“Men of Honor” “Once Upon a Time”) or the Icelandic group Sigur Rós (“A Prophet”, “Game of Thrones”).
But there are also newcomers such as Volker Bertelmann, known as Hauschka, Oscar winner for “In the West, nothing new” and recently heard in “Conclave” or Cristobal Tapia de Veer who designed the very successful main theme of the series “The White Lotus”.
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These signatures allow “Black Mirror” to push its own limits and take risks. In 2017, with “USS Callister”, the first episode of the fourth season, the series embarked on a story inspired by “Star Trek” and, for the occasion, the music of English Daniel Pemberton (“Spider-Man: Across the Spider-Ver”, “The seven of Chicago”) is orchestral and epic.
Make way for female, queer or non-binary artists
At the time of the release of his seventh season, we notice that “Black Mirror” now gives a place of choice to female, queer or non-binary artists.
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Thus the young London composer and cellist Lucinda Chua who, alongside Matthew Herbert, puts to music the episode “Eulogy”, already presented as a must in this new season.
Subject radius: Knoerr Easter
Adaptation web: aq
“Black Mirror”, season 7, to see on Netflix since April 10, 2025. The other six seasons are still available on the platform.
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