Charli XCX’s Next Act: Shaping the Sound of Modern Cinema

2024 belonged, without question, to Brat. While some may not recall the days of ‘Break the Rules’ and ‘Famous’ echoing through Tumblr feeds, or the relentless radio play of ‘Boom Clap’, Charli XCX has always been a step ahead in the world of pop. Her debut, 14, arrived just after her fifteenth birthday, already hinting at the distinctive style she would later perfect. The early tracks, though not quite on par with ‘365’ or ‘Von dutch’, showcased her knack for danceable, electronic backdrops paired with her signature deadpan delivery. As her profile grew, she became the unofficial soundtrack for a generation glued to their screens, before venturing into the more experimental territory of hyper-pop, where jagged, glitchy sounds defined songs like ‘pink diamond’. By the time Brat emerged, Charli was inescapable, the album itself morphing into a cultural touchstone. Even now, over a year since its release, neon green is still synonymous with the record – a work so influential it was even referenced in Kamala Harris’s presidential campaign. The singles were brash and unapologetic, with lyrics about

“living that life”

and

“doing a little line”

at the club, viral TikTok routines to ‘Apple’, and endless footage of Charli prowling the stage in dark glasses. Beneath the hedonism, though, there were moments of reflection, as in the quietly affecting ‘I think about it all the time’, which contemplates motherhood.

From Pop Innovator to Film Composer

What lies ahead for Charli? She appears poised to become one of the most talked-about new composers in film, with a full album’s worth of music for Wuthering Heights due in February 2026. Two tracks have already surfaced, including the mesmerising John Cale collaboration ‘House’. She’s also credited as a composer for David Lowery’s forthcoming film Mother Mary, starring Anne Hathaway and set for release next year.

This isn’t her first foray into soundtracks. In 2023, she worked with Leo Birenberg on the score for Bottoms, which also featured production from PC Music’s AG Cook. The previous year, she recorded ‘Hot Girl’ for Bodies Bodies Bodies, but Bottoms marked her initial experience crafting a full score, focusing on instrumentals rather than pop anthems. With Brat sandwiched between two film projects, it’s clear she’s drawn to Hollywood, a trend mirrored by her growing presence on screen as an actor.

Expanding Her Creative Horizons

Charli has recently shared her passion for cinema on social media, revealing her favourite films on TikTok and often highlighting lesser-known gems. Her acting career is also gathering pace, with roles in upcoming titles such as Erupcja, 100 Nights of Hero, and Sacrifice. She’s set to appear in Gregg Araki’s new film, I Want Your Sex, and an upcoming project from Takashi Miike.

With her dominance in pop firmly established, the question now is whether she’s ready to make a similar impact in the world of film. While her acting has divided opinion among fans, her move into composing has been met with enthusiasm. There’s a notable shortage of women in this field – how many can you name, honestly? – and a real appetite for composers who bring something genuinely original to the table. Recent years have seen some standout soundtracks, such as Broadcast’s work for Berberian Sound Studio and Air’s dreamy, melancholic score for Sofia Coppola’s The Virgin Suicides. These albums carve out their own unique spaces, eschewing traditional conventions, a quality Charli seems to share.

A New Force in Cinematic Sound

If ‘House’ – a chilling, abrasive piece created with the legendary Velvet Underground founder – is any indication, Charli may well become a vital new presence in film music. Her soundtrack for Wuthering Heights promises to be far more intriguing than Emerald Fennell’s adaptation of Emily Brontë’s classic, which has already received a lukewarm response from early viewers. There’s even hope that Charli’s contribution might rescue the film from mediocrity, though perhaps it’s wise to reserve judgement for now. All eyes are on the Mother Mary score, with the hope that it matches the inventiveness she’s shown so far. With her experimental roots and unconventional approach, Charli XCX seems perfectly placed to inject fresh energy into the world of film composition.