Varèse Sarabande Records will release The Face of Love – Original Motion Picture Soundtrack digitally on March 11 and via disc-on-demand later in March. The soundtrack features original score composed by Marcelo Zarvos (Enough Said, Ray Donovan).
"Arie [Posin, director] wanted a timeless feel to the score," described Zarvos. "We used an orchestra with very strong thematic material that would hit the emotional, romantic and suspenseful elements of the story."
Brazilian-born Marcelo Zarvos burst onto the indie film landscape in the 2000s with his scores for Kissing Jessica Stein and The Door in the Floor. His trademark is a seamless blend of classical, orchestral, rock, electronic and various ethnic and folk elements, which together create a uniquely affecting and emotionally charged music. Zarvos was named one of the 25 New Faces of Indie Film in 2004 by FilmMaker Magazine.
Currently the composer of the hit new Showtime series Ray Donovan, Zarvos' recent film scores include Nicole Holofcener's Enough Said, Barry Levinson's The Bay, Daniel Barnz's Won't Back Down, David Mamet's Phil Spector and Lee Sternthal's The Words. He has collaborated with Robert DeNiro, Barry Levinson, Antoine Fuqua, Curtis Hanson, Tod Williams, Ang Lee, Jodie Foster, Cary Fukunaga, David Mamet and Allen Coulter. Zarvos's film credits include The Good Shepherd, Brooklyn's Finest, Sin Nombre, Remember Me, and Hollywoodland. He has been nominated for two Primetime Emmy Awards (for You Don't Know Jack and Taking Chance) and an HMMA Award for Brooklyn's Finest. His upcoming projects include Little Accidents, The Humbling, and the second season of Ray Donovan.
Five years after the death of her beloved husband Garrett (Ed Harris), Nikki (Annette Bening) meets a man who seems his exact duplicate. Not only does this stranger possess the same deeply lined face and startling blue eyes, he also shares Garrett's kindness, humor, and passion for art. And yet he is a stranger. Romance blossoms between Nikki and this alluring doppelgänger, but she can't bring herself to tell him the truth about what drew her to him. So she hides her photos and prevents him from meeting friends and family. Still, she can't resist taking him to all the old haunts. It isn't a question of if the truth will come out, but when. Arie Posin directs this emotionally thorny drama about how we cope with loss, live in the moment and ultimately move forward.
"The use of music is quite sophisticated and had to reflect the deep feeling of loss that Annette Bening's character feels, as well the dangerous psychological game she is playing," described Zarvos. "The goal of the music was to keep us guessing to the very end what was real or imaginary."