"Tearsmith" Soundtrack Lyrics

"The Tearsmith (Music from the Netflix Film)" – Album Guide to Tracks and Key Scenes

Overview

What happens when a dark-romance fairy tale wants to sound both tender and haunted? The Tearsmith answers with a two-part palette: Andrea Farri’s glassy, lullaby-haunted score and a handful of contemporary and classic needle-drops that map teen longing to modern pop. The music gives Nica and Rigel a sonic diary — whispered vocals, pulsing motifs, and the sudden rush of a well-placed chorus.

Set around the legend of a maker of tears and the trauma-shadowed bond between two fostered teens, the film leans on contrast. Farri’s themes (“Rigel’s Theme,” “Nica’s Theme,” “The Tear Maker”) thread motifs through quiet rooms and courtroom reckonings; songs by George Ezra, Olivia Rodrigo, Billie Eilish and others puncture the hush with memory and mood. It’s romance scored like a bedtime story that keeps turning the light back on.

Genres & themes in phases: indie/alt-pop — desire, appearance, social theater; electro-ambient score — fear, imprinting, fate; classic yé-yé — glamour and danger at the club; lullaby-folk (with ethereal vocals) — belonging vs. loss. Each phase flips the lens: pop for surfaces and signals; score for the inside voice.

How It Was Made

Director Alessandro Genovesi anchors the adaptation; composer Andrea Farri crafts an eight-track score release built around recurring character motifs and vocal textures (with contributions from Valentina Costanzo). A music consultant, Giovanni Arcadu, supported the curation of source tracks — the pop selections that punctuate high-school entrances, parties, and first kisses. The official score album arrived digitally in early April 2024 via San Isidro Edizioni Musicali.

Tracks & Scenes

Key placements below — with time marks from widely available home cuts (hh:mm). “Diegetic” notes when characters hear the music in-scene.

“Budapest” (George Ezra)

Where it plays:

00:00 — Opening sequence on the road, then a sudden crash cuts the song. Non-diegetic, functioning as a bright misdirect before tragedy.

Why it matters:

Sunny, humming intimacy smashed by fate — the film’s thesis in one needle-drop.

“vampire” (Olivia Rodrigo)

Where it plays:

~00:19 — First day at Barnaby High; hallway glide, new faces, old defenses. Non-diegetic.

Why it matters:

Gossip and performance; the song’s bite mirrors the social pecking order Nica walks into.

“You Should Be Here” (Atmosphere Music – Danny Cope)

Where it plays:

~00:23 — Quiet chat in Nica’s room about school and fitting in. Likely source/ambient, mixed soft.

Why it matters:

Domestic warmth against institutional memories — the “new home” motif in pop form.

“Someone Somewhere” (Elizabeth Riordan & Louise Bernadette Dowd)

Where it plays:

~00:53 — Walk-and-talk with Billie to a classmate’s house; low-stakes plotting turns to friendship. Non-diegetic.

Why it matters:

Gives Nica a breather track — a little hope at normalcy.

“Laisse tomber les filles” (Serge Gainsbourg)

Where it plays:

~01:13 — Club sequence; colored lights and predatory glances as Nica dances with Lionel. Diegetic in-venue playback.

Why it matters:

Iconic yé-yé bite turns the dancefloor into a warning label.

“I Love You” (Billie Eilish)

Where it plays:

~01:19 — After Rigel intervenes, the two finally drop their armor; hands to face, first real kiss. Non-diegetic.

Why it matters:

A hushed confession that lets the scene play in negative space — barely there, completely felt.

Score: “Lullaby” (Andrea Farri & Valentina Costanzo)

Where it plays:

00:11 — Arrival at the new home; 00:50 — Nica nods off in Rigel’s bed; 01:07 — return-and-kiss; 01:38 — first end-credits cue. Non-diegetic theme.

Why it matters:

The film’s heart motif — innocence straining against dread; the vocal gives it a folk-myth shimmer.

Score: “The Tear Maker”

Where it plays:

~01:34 — After Nica’s testimony, a hospital visit resolves the arc; strings and voice swell, then release. Non-diegetic.

Why it matters:

Title-theme catharsis; it binds legend to choice.

Score: “Rigel’s Theme” / “Nica’s Theme”

Where it plays:

Character-anchored interludes: early piano imagery, medicine-care scene (~00:46), title-card/opening (~00:02) and end-credits tail. Non-diegetic.

Why it matters:

Doubles as psychological POV — you can hear whose memory we’re inside.

Trailer & extra cues

• The official trailer leans on breathy ballad textures; some uploads tag Billie Eilish’s “i love you” over the cut.
• Library and production-music cuts (“Brutal Love/Brutal Hope,” “When You See Me,” “I Can Never Leave You”) surface in transitional scenes; they’re not on the eight-track score album.

Notes & Trivia

• Andrea Farri’s official score album runs eight tracks (~23 minutes) and was released digitally on April 4, 2024.
• Valentina Costanzo’s voice is featured on score cuts like “Lullaby” and “Hell.”
• “Budapest,” “vampire,” and “i love you” are the best-known retail songs heard in-film; they don’t appear on the score EP.
• Music consultant Giovanni Arcadu is credited for the needle-drop selections.

Reception & Quotes

The movie split critics; the music drew steady attention from fans tracking scenes and timecodes. Reviewers flagged the fairy-tale framing and the pop/score blend as the film’s emotional scaffolding.

“A teen-romance phenomenon with a pop-score backbone; the songs do the signaling, the motifs do the healing.” — soundtrack roundups

“Hush-hush ballads and lullabies make the love story feel haunted.” — capsule impressions

Interesting Facts

• Legend as leitmotif: the “Tear Maker” idea becomes a rising-falling figure you’ll hear whenever the myth re-enters the room.
• Club classic with teeth: Gainsbourg’s “Laisse tomber les filles” frames Nica’s danger dance with vintage irony.
• End-credits echo: “Lullaby” reprises under the first credits card — a circular goodnight after a storm.
• Time-coded fandom: scene-by-scene song logs circulated the week of release, helping the film’s global word-of-mouth.
• Trailer haze: trailer uploads showcasing “i love you” primed viewers for breathy ballads inside the film.

Technical Info

• Title: The Tearsmith (Fabbricante di lacrime) — Music from the Netflix Film
• Year: 2024
• Type: Movie soundtrack (original score EP) + licensed songs in-film
• Director: Alessandro Genovesi
• Composer: Andrea Farri (score); featured vocals by Valentina Costanzo
• Music consultant: Giovanni Arcadu
• Label/album status: Digital score EP (8 tracks) via San Isidro Edizioni Musicali — streaming/download
• Notable placements: “Budapest” (George Ezra); “vampire” (Olivia Rodrigo); “I Love You” (Billie Eilish); “Laisse tomber les filles” (Serge Gainsbourg); Farri’s “Lullaby,” “The Tear Maker,” character themes
• Release context: Netflix global premiere April 4, 2024

Questions & Answers

Is there a separate songs album?

No official “songs” album — the retail release is Farri’s eight-track score EP; the pop tracks remain licensed within the film/trailers.

Who wrote the score and what does it sound like?

Andrea Farri — intimate piano/strings, airy pads, and wordless vocals; two strong character themes plus the legend-linked title cue.

Which big pop songs show up?

George Ezra’s “Budapest,” Olivia Rodrigo’s “vampire,” and Billie Eilish’s “I Love You,” among others.

What’s the end-credits song?

Farri’s “Lullaby” is reprised during the first end-credits card.

Where can I stream the score?

On major platforms (Apple Music, Spotify, Bandcamp) under Fabbricante di lacrime – The Tearsmith (Soundtrack from the Netflix Film).

Key Contributors

Sources: Vague Visages (song list & timecodes); Soundtracki (scene-by-scene placements); Cineblog (Italian OST article & track names); Film Music Reporter (album announcement/details); Apple Music & Spotify (official score release); Bandcamp (label/credits); Netflix (trailer page & film listing).

November, 27th 2025