"Alexandre is exceptional to work with; he understands what I want and can anticipate that while taking it even further." Film-director Roman Polanski was describing Alexandre Desplat, the composer who has been indispensable to him since The Ghost Writer. The film Venus in Fur is their third high-fidelity collaboration, an abundant score lasting thirty-seven minutes which Desplat structured around a single theme. He declines this almost obsessively, constantly renewing the musical imagery in all its facets: at times it takes on something of a classical dance, and at others it becomes a hypnotic waltz for piano and strings. In direct line with other great soundtracks in the Polanski filmography — Cul de sac, Rosemary's Baby, Chinatown, The Tenant — the music for Venus in Fur provides an illusion of reality, with its deadly charm enveloping the game of seduction played out by Emmanuelle Seigner and Mathieu Amalric. "It's as if the film was covered by a veil that makes it opaque," explains the composer, "and the music allowed you to lift that veil, like a tulle dress you'd see in a theatre." Alexandre Desplat has pulled off an almost impossible task: to provide a generous musical setting for a confrontation (with a great deal of dialogue) between the film's two main characters in isolation from the outside world. Even better, the composer opens up other perspectives, taking the storyline into new territory, an imaginary domain even more immense than the film's images. And when you ask Desplat which filmmaker best incarnates the very concept of film, his invariable answer is: Roman Polanski.