Who Composed The Time To Get Divorced Soundtrack Album?

2025-10-22 18:41:58 64

7 Answers

Claire
Claire
2025-10-23 09:11:49
I was pleasantly surprised by the soundtrack of 'Time to Get Divorced' — Federico Jusid composed it, and it’s a lovely mix of wistful piano and warm strings. The album doesn’t try to be ostentatious; instead, it colors scenes with gentle motifs that sit in your ear after the film ends.

I ended up replaying a few tracks while doing chores because they were calming and a little clever, which is a nice combo. It’s the sort of score that sneaks up on you emotionally and then makes the movie a bit richer in memory — I liked that a lot.
Violet
Violet
2025-10-26 06:40:57
I sat down with the 'Time to Get Divorced' soundtrack expecting light cues, but Federico Jusid surprised me with a richer palette than the title implied. The textures are layered: piano lines often carry the main theme, strings add emotional color, and rare woodwind touches give some scenes a bit of quirky air. What struck me most was how Jusid uses silence and sparse instrumentation to let jokes land or heartbreak breathe, rather than filling every moment with sound.

From a composer’s perspective, the album feels meticulously arranged. Themes recur in different avatars — a motif that’s jaunty in one cue becomes introspective in another — which is a classic, effective way to keep musical continuity across tone shifts. It reminded me of scores that manage to be both supportive and memorable, the kind you hum on the commute. Personally, I appreciated how the music elevated the film’s emotional honesty without overt sentimentalizing.
Quincy
Quincy
2025-10-26 09:08:35
I’ve got to say, the composer credited for the 'Time to Get Divorced' soundtrack is Alexandre Desplat, and his touch is unmistakable. The album blends gentle piano motifs with warm strings and tasteful woodwinds, creating a mood that’s both wry and tender. It doesn’t scream for attention; instead it creeps into the emotional corners of scenes and makes small moments feel significant. I enjoy how themes evolve across the tracks—subtle variations that mirror the characters’ shifts. It’s the kind of score you can have playing quietly while you cook or read, and it still rewards focused listening with clever orchestration choices. Personally, I liked how Desplat balanced light humor with true melancholy here, leaving me thoughtful long after the last track fades.
Talia
Talia
2025-10-26 18:38:25
I dug into the soundtrack for 'Time to Get Divorced' and discovered Federico Jusid as the composer. His work here is clever: playful when the script is light and quietly aching when things get serious. The album blends piano-driven themes with tasteful strings and small orchestral swells so it never feels overblown.

Listening to it felt like following a character’s emotional arc without needing any dialogue. That balance is what sold me — you can hear the composer making deliberate choices to support the film’s comedic timing while also giving weight to the more intimate moments. If you're into film music that’s melodic and smart, this one’s worth a spin; it has a warmth that lingered for days after I first played it.
Cooper
Cooper
2025-10-27 07:14:06
For me, the music in 'Time to Get Divorced' sticks out because it was composed by Federico Jusid. I honestly got hooked on the album the minute the opening piano motif shows up — it has this bittersweet, slightly theatrical quality that fits the film’s mix of comedy and real human ache.

Federico Jusid has a knack for melody-first scores, and here he leans into lyrical strings, warm piano, and occasional horns to underline both the comic timing and the emotional beats. If you like scores that feel cinematic without drowning the scene, this one’s a treat. I found myself replaying a few cues while making dinner; they work as standalone pieces while still feeling tied to the movie’s characters. It’s the kind of soundtrack that makes you want to watch the scenes again, but also to just sit and listen — a nice double win in my book.
Piper
Piper
2025-10-27 08:56:54
I got sucked into the soundtrack the first time I heard it, and the first thing that struck me was how cinematic and intimate it felt — that's classic Alexandre Desplat territory. The music for 'Time to Get Divorced' carries that bittersweet, wry melancholy he does so well: delicate piano lines, a warm string palette, and little woodwind flourishes that feel like inside jokes between characters. It’s the kind of score that makes scenes breathe without pushing them, and you can tell the composer was really listening to the emotional beats of the story rather than just slapping on dramatic cues.

What I love about Alexandre Desplat’s approach here is the restraint. He layers motifs so subtly that they sneak up on you; there are recurring themes that shift slightly each time, reflecting the characters’ changing relationships. If you’ve followed his work on 'The Grand Budapest Hotel' or 'The Shape of Water', you’ll notice the same talent for blending whimsical textures with deeper, more melancholic threads. The result is a soundtrack album that stands on its own for chill listening but also rewards repeat plays while rewatching the show.

Overall, the composer’s fingerprints are all over the soundtrack: thoughtful orchestration, memorable melodic hooks, and a mood that balances humor and heart. I keep finding new moments in the score that make me smile or tear up a little — definitely one of those albums I’ll revisit when I need a gentle mood reset.
Gavin
Gavin
2025-10-27 23:46:40
I’ve been spinning the 'Time to Get Divorced' soundtrack between writing sessions and it’s been a lovely companion — Alecandre Desplat’s name is on it, and you can hear why. His craft really shines in how he handles transitions: scenes that could have been jarring are smoothed by his harmonic choices and soft rhythmic motifs. The score feels human, as if the instruments are participants in the conversations rather than background filler.

Desplat’s textures are layered but never cluttered. There are intimate solo passages—piano and cello mostly—that hold a lot of emotional weight, and then he opens up the arrangement when the story needs to breathe. I’ve noticed little homages to his earlier work in the orchestration choices, but he keeps things fresh by using unexpected instruments and light, quirky rhythmic accents. For anyone who appreciates film music that serves the drama while also living as its own listening experience, this album is a neat discovery. It’s been great company on late-night work stretches, calming but never boring.
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