Given the stunning seascapes combined with the deeply interior nature of the freediver’s journey and the enormous stakes of this film the score had to traverse a wide emotional spectrum.

The score weaves together the parallel stories of Alessia and Stephen, capturing the thrilling danger of the sport whilst also capturing their nascent relationship against a stunning underwater backdrop. In the film, we experience so much of the beauty and the brutality of life and love;

"We tried to capture the beauty of nature in the immersiveness, stillness and perils of the deep, particularly in the opening titles where you hear the power of the natural elements portrayed by the thundering drums and the intimacy of the human diver represented by the solo viola."

The score was written over the period of a year working very closely with director Laura McGann and though the score evolved throughout the edit in a very organic way, we retained the initial concept of ideas we discussed.

What drew me to this film initially was the potential to explore what drives these free divers to push their bodies to the limits of what they are physically capable and therefore to understand who we are and also to tell this love story with sensitivity.

Throughout the film there are great moments of joy following Alessia’s successes, inspiration and hope from the positive energy when Stephen sets up his diving centre, to the fatal dive told with restraint, to the budding warmth of romance between Stephen and Alessia, and the thrill of competition, the incredible danger of the dives and moments of serenity and breath in an otherwise non-stop film.

Our initial conversations centred around creating two different sonic palettes for our two leads to reflect their inner motivations and personalities.

We utilised a small string ensemble with piano, voice and electronics.

In establishing Alessia’s sound, the use of voice was key. We integrated hints of subtle electronics and the female voice. We even brought in a young 12 yr old girl’s voice to represent Alessia as a 12 yr old. The act of breathing is a central core to the film so the vocals throughout the score are sung in a very breathy way.

Alessia has a dream, so some early cues had to capture the germ of something being born and have a youthful exuberance. When she is training and in competition we also brought in percussion like a ticking clock and even the voice is like a ticking clock at times. She is biding her time and when Alessia turns 18, she arrives like a rocket and the music mirrors that with the more energetic cues.

With Stephen I used cello and strings with a minimal chamber approach. Stephen is searching for himself and so I inject a lot of energy, wonder and drive.

These elements eventually intertwine and finally come together in the love theme with a call and response between the instruments with the piano bridging across many of the cues in a subtle way.

Hanako – Alessia’s rival has her own theme – dynamic, exciting. Edgy and contemporary, pushing Alessia to her limits with the competitiveness between them.

The ‘fatal dive’ is filled with dark tension and we explored music design elements to evoke the threat of the open sea.

One of the most challenging scenes in the film to score was the Vigil at the end.

The tragic event that unfolds had to be treated with respect, dignity and restraint but still pack an emotional punch leading to an uplifting ending.

“What could have been a murky journey is instead shaped by an awareness of vast space, varying liquid light and caverns of silence, except when Nainita Desai’s surging, sometimes suitably head-pounding score fills the void.”

- Variety

"The Deepest Breath is a nerve-shredding experience. The edit gives a spiralling sense of the inevitable, underlined by Nainita Desai’s insistent score… technically, it’s just about flawless… It’s one of the ultimate big-screen experiences that is worth seeking out."

- Screen International

"Nainita Desai’s sweeping score drowns out any remaining viewer uncertainty…the craftsmanship is so effective that I was ultimately left with a well-rendered catharsis….a largely potent and beautiful film."

- Hollywood Reporter