Artist's albums
Dark Hearts (Original Score from the TV Series)
2023 · album
Visions (Bande originale de la série télévisée)
2022 · album
Sentinelles (Bande originale de la série)
2022 · album
De son vivant (Bande originale du film)
2021 · album
The Illegal (Original Motion Picture Soundtrack)
2021 · album
Faux-Semblants (Bande originale du téléfilm)
2020 · album
Poly (Bande originale du film)
2020 · album
Inhuman Resources (Original TV Soundtrack)
2020 · album
SamSam (Musique originale du film)
2020 · album
Qu'un sang impur... (Bande originale du film)
2020 · album
The Insult (Original Motion Picture Soundtrack)
2018 · album
Cézanne et moi (Bande originale du film)
2016 · album
La dernière leçon (Bande originale du film)
2015 · compilation
Boomerang (Bande originale du film)
2015 · compilation
Une mère (Bande originale du film)
2015 · compilation
De guerre lasse (Bande originale du film)
2014 · compilation
La voie de l'ennemi (Bande originale du film)
2014 · album
L'Attentat (Bande originale du film)
2013 · album
Dignity (Original Television Soundtrack)
2013 · album
Borgia Season 2 (Original Soundtrack)
2013 · album
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Biography
Composer Eric Neveux was 25 when he met director François Ozon (Swimming Pool, 8 Women) and composed the score for his first long-form film, See the Sea. Ozon then asked him to score his first feature film, Sitcom. Shortly thereafter, Neveux began a long-term collaboration with Patrice Chéreau, scoring his film Those Who Love Me Can Take the Train (Cannes Film Festival Official Selection, 1997), followed by Intimacy (Berlin Film Festival Golden Bear award-winner, 2001), and Persecution, (Venice Film Festival, 2009). Eric Neveux has composed original music for 60 feature films, as well as a variety of scores for TV movies and series. Recent score highlights include two installments of director Rachid Bouchareb’s American Trilogy; Just Like a Woman (starring Sienna Miller and Golshifteh Farahani), and Two Men in Town(2014), with Forest Whitaker and Harvey Keitel; and later, Bouchareb’s film Road to Istanbul in 2016 (the last two being official selections of the Berlin Film Festival). Eric’s passion for independent film is further illustrated by his work on titles such as La Vie Domestique by Isabelle Czajka, Standing Tall (La Tête Haute) by Emmanuelle Bercot, the Cannes Film Festival’s opening film in 2015, The Attack (2013), and The Insult (2017), by Ziad Doueiri which was nominated for Best Foreign Language Film at the 90th Academy Awards.