Assombrada
Project Overview
Assombrada is a psychological horror short film directed by Felipe Aguiar. From the beginning, this project stood out as an emotionally immersive experience. Much like composer Hildur Guðnadóttir, who wrote parts of the Joker score after reading the script, I was inspired to compose Assombrada’s main theme immediately after reading the screenplay. That first composition became a central element of the creative process—it even helped the lead actress dive into character and set the emotional tone for the film.
Creative Process
One of the key challenges when scoring a film lies in communicating effectively with the director and writer—understanding the emotional nuances of each scene, the subtext, and the symbolic meaning behind elements like character reactions, lighting, camera focus, and even props.
Fortunately, working with Felipe was a smooth and collaborative process. Beyond being a close friend, he’s a generous and skilled professional. Our communication was fluid, open, and creatively enriching. He gave me space to experiment with sounds and ideas, while also providing clear direction where needed.
In Assombrada, music and sound design walk hand in hand. Especially in horror films, the boundary between score and SFX often dissolves. I spent time studying unsettling textures and sound elements that could evoke desperation, discomfort, and suspense. Some of these elements were incorporated directly into the score—blurring the lines between music and ambient sound.
Another aspect I was excited to explore was vocal manipulation. I recorded whispers and melodic fragments using my own voice, weaving them into the score to create a haunting intimacy that matched the psychological tension of the film.


Challenges & Sound Reconstruction
As with many independent productions, Assombrada came with its share of technical and financial constraints. One major challenge was on-set sound recording—we faced several issues during filming, which led us to rebuild the entire soundscape in post-production.
This meant starting from scratch: sessions of voice dubbing, hours of Foley and sound design, and a careful reconstruction of the sonic world. While demanding, it was an enriching and transformative experience that deepened my understanding of film audio production.

Reflections
Assombrada allowed me to explore the blurred boundaries between score and sound design, dive into unconventional vocal work, and embrace limitations as creative tools. It was a true collaboration, and a reminder that great sound doesn’t require a big budget—just big ideas, clear communication, and emotional honesty.