Main Title / Heading 1: Mateo Nossa

Professional Tagline: Composer

The Approach: Mateo is a composer who works at the intersection of traditional orchestral scoring, modern synthesis, and culturally rich musical traditions. His process is centered on developing an original and defined sound palette where the narrative can live, ensuring each project has its own distinct sonic identity. He views the score as a functional part of the story, focusing on how specific textures—whether a large ensemble or custom-engineered electronics—can better ground a film’s emotional world.

Recent Work: His 2026 Sundance Premiere, The Musical (Dir. Giselle Bonilla), served as an exploration into the Golden Age of Hollywood, reimagining classic orchestral scales through a contemporary lens. This interest in tradition carries into his work on Virgencita and The Bullfighter, projects defined by their cultural characteristics and the use of specific instrumentation to drive the narrative stakes.

Background: A graduate of NYU Steinhardt and former educator at NYU Tisch, Mateo’s process is built on a foundation of orchestration and technical engineering. His concert music has been performed internationally by ensembles such as the Cuarteto Latinoamericano, a background that informs his ability to scale from intimate chamber settings to large-scale cinematic scores.

Selected Filmography & Projects:

• The Musical (Original Score) – A journey through stage and shadow.
• The Bullfighter (Original Score) – The dance of dust and destiny.
• RATA (Original Score) – A visceral exploration of sound.
• Dead Girl (Original Score)
• When I Was There (Original Score)
• Virgencita (Original Score)
• Desire Lines
• Pathless (Textural exploration)
• Everything Is As It Should Be
• The Spaces Between The Silver Grains

Critical Acclaim: “Adding to the joke is Mateo Nossa’s terrific score. Utilizing violins for maximum tension, Nossa understands the assignment—the music wouldn’t sound out of place played over The Silence of the Lambs.” — FilmHounds

“The score by Mateo Nossa recalls the work of Bernard Herrmann, helping elevate the cringe-comedy into something far more cinematic and dangerous.” — SlashFilm

Contact Information: Email: mateo@mateonossa.com