"Rest in Peace" Soundtrack Lyrics

"Rest in Peace (Original Motion Picture Soundtrack & Score)" – Album Guide to Tracks and Key Scenes

Overview

How do you score a disappearance — the sound of a man who chooses to become a ghost? Rest in Peace (2024) answers with a double helix: pulsing, noir-leaning score and sharp needle-drops that mark memory, class, and risk. The music traces Sergio’s arc through arrival → adaptation → rebellion → collapse, as debts and fate corner him into vanishing.

The film moves from 1990s Buenos Aires into the Paraguayan borderlands. Pop and dance cuts frame the social front — birthdays, weddings, the public face — while the original score thins the air around Sergio, tightening dread. What begins as a family drama gradually tunes itself to a thriller; the soundtrack follows suit, slipping from communal joy to isolating hums and scraped strings.

Distinctive touch: the needle-drops never feel like jukebox wallpaper. They’re diaristic — flashbulbs of life before and after the blast — contrasted against Federico Jusid’s score, which glues time jumps without announcing itself. According to festival and press notes, the film’s musical palette was chosen to contrast the bustle of pre-tragedy city life with the hush of exile.

Genres & themes by phase: 90s synth-pop & Italo/Euro-disco — surface euphoria and denial; Argentine rock nacional — community and class markers; wedding traditionals — obligation, identity; modern score minimalism — secrecy, fear, and ultimately reckoning.

How It Was Made

Composer Federico Jusid (longtime collaborator with Argentine/Spanish cinema) crafted the original score, meshing intimate piano, bowed textures, and low electronic pulses. The approach privileges tension that breathes: cues often start as barely-there motifs and thicken as Sergio’s choices multiply. Editorially, the film leans on sharp transitions — party → aftermath → flight — and the music carries those cuts without resorting to big “stingers.”

On the source-music side, the selections plant the story firmly in 1994: dancefloor synths, New Wave afterglow, and Latin rock anthems. Supervisory choices spotlight class code-switching — club tracks in gated-community parties, then traditional and regional cues across the border. As per contemporary coverage, there was no day-and-date commercial score album; curated streaming playlists circulate instead, alongside fan-assembled compilations of the film’s songs.

Tracks & Scenes

“Chains of Love” — Erasure
Where it plays: 00:01 — 1994, Buenos Aires. A house party thrums: Sergio moves through friends and clients, every smile a strategy. The synths make the room glitter as the camera catches him faking ease. Diegetic, speakers in-scene.
Why it matters: Establishes social mask vs. private panic — the chorus’s plea undercuts the bravado.

“Brillante sobre el mic” — Fito Páez
Where it plays: ~00:04 — Birthday candles, family clustered. The song’s nostalgic ache coats the smiles; Sergio’s gaze flicks to a shadow at the edge of frame. Diegetic.
Why it matters: Rock nacional as emotional shorthand — belonging and the fear of losing it.

“Bizarre Love Triangle” — New Order
Where it plays: Late-night montage of calls and dodges; city lights strobe through a windshield. Non-diegetic drop that edges into score textures.
Why it matters: Confession dressed as dance — the lyric ironizes Sergio’s tangle of lies and need.

“I Feel Love” — Donna Summer
Where it plays: A club-adjacent sequence bridges social worlds; the relentless sequencer contrasts with Sergio’s quickening breath. Mixed placement — starts diegetic, bleeds to non-diegetic as we cross-cut.
Why it matters: Futuristic euphoria collides with present dread — the film’s tonal two-track.

“Mashiach” — Eitan Massuri
Where it plays: ~01:29 — Wedding dance. Hands clap, bodies sway in concentric circles. Sergio watches, half inside the joy, half outside the life he abandoned. Diegetic, live-band feel.
Why it matters: Community ceremony as moral mirror — tradition asks what he owes his own.

“Funkytown” — Lipps Inc.
Where it plays: A comic-bright needle-drop punctures tension during a social scene; quick cut to a colder room where the beat dies. Diegetic to hard stop.
Why it matters: The joke curdles fast — a reminder that the party never lasts for debtors.

Score cues — Federico Jusid
Where it plays: Throughout: low piano ostinati and muted strings during border-crossing plans; breathy pads over the AMIA aftermath; thin, almost metallic sustains in domestic reconnaissance late in the film.
Why it matters: The score is the film’s conscience — it doesn’t scold, it simply refuses to let the lie relax.

Also in the mix & trailers: Additional 80s/90s pop entries surface in party flashbacks and promo materials; the official trailer leans on percussive pulses and chopped vocal stabs. Fan playlists gather these cues alongside original score snippets.

Notes & Trivia

• The film premiered in Argentina on March 21, 2024, and hit Netflix on March 27 — the soundtrack conversation took off with the streaming release.
• Jusid’s score favors restrained motifs; the biggest “hit” moments belong to era-specific songs placed at parties and ceremonies.
• Rock nacional (Fito Páez) sits alongside Anglo club staples (Donna Summer, New Order) — a very 90s Buenos Aires blend.
• Several publicly shared playlists mirror the film’s cues; no retail “Original Motion Picture Score” has been widely issued to date.
• Press notes and reviews highlighted the contrast between the giddy opener and the stark AMIA aftermath.

Music–Story Links

When Sergio’s credit card fails, “Chains of Love” keeps bouncing like denial — he dances because admitting collapse would stop the song. Later, “Brillante sobre el mic” sanctifies family ritual, only to be haunted by a figure in the doorway; the track’s warmth makes the threat feel colder. The wedding sequence flips the logic: “Mashiach” wraps him in community just as he’s defined by absence. By the final act, Jusid’s cues pare down to a pulse; when Sergio chooses whether to step back into the light, the score doesn’t swell — it tightens, like a breath he can’t finish.

Reception & Quotes

Response centered on sturdy performances and a canny use of era music. One Argentine review singled out the “attractive soundtrack” that runs from Erasure to Fito Páez to New Order — a precise snapshot of time and class. According to Netflix’s regional listings, the film slotted quickly into “Argentinian dramas” discovery rows, where needle-drops often fuel word-of-mouth.

“An attractive soundtrack… from Erasure to Fito Páez, Donna Summer to New Order.” — OtrosCines

“A thriller-family blend with technical polish; the music choices are part of its grip.” — Festival/Málaga coverage

Interesting Facts

• Trailer tip: the first Netflix trailer clocks ~1:31 — enough room to telegraph the pop/score split without giving away placements.
• Some playlists include library cues alongside the film’s pop songs; treat them as unofficial guides, not canonical releases.
• A few drops are diegetic party music, then reappear as memory motifs under score — an elegant editorial echo.
• The AMIA sequence leans into restrained sound design; when music returns, it’s deliberately “too bright,” heightening dissonance.
• Jusid previously scored Borensztein’s hits — the comfort shows in how sparingly the film uses theme statements.

Technical Info

• Title: Rest in Peace (Descansar en paz) — Music from the Motion Picture
• Year: 2024
• Type: Film soundtrack usage + original score (no widely released commercial score album at launch)
• Composer (score): Federico Jusid
• Key needle-drops: “Chains of Love” (Erasure); “Brillante sobre el mic” (Fito Páez); “I Feel Love” (Donna Summer); “Bizarre Love Triangle” (New Order); “Mashiach” (Eitan Massuri); “Funkytown” (Lipps Inc.)
• Release context: Theatrical Argentina — March 21, 2024; Netflix — March 27, 2024
• Label/album status: No official OST/score album widely marketed; unofficial Spotify/YouTube playlists compile cues
• Availability: Film streaming on Netflix in multiple regions; playlists accessible on major platforms
• Notable placement style: Diegetic party/wedding songs bookend interior thriller cues

Questions & Answers

Who composed the original score?

Federico Jusid, whose restrained motifs and low electronic pulses shape the thriller tension.

Is there an official soundtrack album?

Not at initial release — fan and editorial playlists collect the film’s songs; the score isn’t widely issued as a standalone.

Which song sets the early party vibe?

Erasure’s “Chains of Love,” a diegetic cue that frames Sergio’s social mask in 1994 Buenos Aires.

What’s the standout ceremonial cue?

“Mashiach,” used at a wedding dance — community joy juxtaposed with Sergio’s outsider status.

How does the score interact with the needle-drops?

Needle-drops mark public moments; the score stalks the private ones, often thinning to near-silence before choices land.

Canonical Entities & Relations

Sources: Netflix listings and trailer; Spanish-language Wikipedia entry; Film Music Reporter; OtrosCines review; Soundtracki song guide; RingoStrack soundtrack page; regional entertainment listings (Gadgets360). As per press notes and platform metadata.

November, 19th 2025