Fair Play will be released October 6th.
Summary SCREENRANT VIDEO OF THE DAY SCROLL TO CONTINUE WITH CONTENT If there was a winner of the Sundance Film Festival 2023, it would be Chloe Domont’s feature directorial debut Fair Play, and with good reason; the writing is bitingly sharp, the performances visceral, and the combination of the two feels impossible to turn away from as an impending car crash. Higher-ups at Netflix thought so, too, as the platform purchased the film for $20 million while Sundance was still in full swing.
Brian McOmber: “Go Long” is the longest continuous queue in the film; I think it’s just under five minutes. Through this whole series of musical changes that happen, we're following Emily's character as she's getting her bearings as PM. She’s gotten her job promotion and she's having to tell Luke, the person she's secretly engaged to…. she has to be his boss, all of a sudden. A
Brian McOmber: I think a lot of the themes were more textural and timbral or in nature than they were necessarily melodic. There is some melody. There are some melodic themes too; they're just very pared down, simple, and oftentimes paired with these intermittent percussive hits, or stabs. The goal is for it always to feel understated whenever we're using melody and try not to lean too much into telling the audience how to feel.
Brian McOmber: There were a few. There were definitely changes. That whole series starts with her in the boardroom taking a meeting and speaking up on this bet she wants to make on going along on a particular stock. All her colleagues are disagreeing with her and being disrespectful, which is part of the whole office culture. In a lot of ways, in that scene, you're like, “Oh, she sort of made it, because they're picking on her.
The percussion stuff came later when we realized the missing ingredient was just us going even further with the pace, energy, clicking, and ticking. She always mentioned a ticking time bomb; she always wanted it to feel like a ticking time bomb. A lot of times the synths, minimal percussion, and strings weren’t really bringing that driving pace that we wanted--that high-stakes thing we want to do in any thriller—so the percussion came in, and I think that was where it all came together.
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