"Through My Window" Soundtrack Lyrics

“Through My Window — Original Songs & Score (Netflix, 2022)” – Album Guide to Tracks and Key Scenes

Review

What happens when a Wattpad romance grows a club playlist? Through My Window answers with a candy-coated needle-drop storm: Spanish bedroom-pop, DIY electro, soft-trap slow-burners — all orbiting Raquel and Ares’ push-pull. The music rarely sits back; it nudges the story into montage, lubricates the flirt, and turns party scenes into emotional signposts.

The plot is teen-melodrama straight up (neighbors, obsession, class gap), and the soundtrack leans into vibe over theme — sticky hooks for first kisses, indie sparkle for heartbreak fallout, and a few knowingly on-the-nose placements (pool parties scored to retro-schmaltz, prom to sugary twee). A compact original score threads between songs, but the film’s identity lives in its crate-digging: local scene acts share the stage with viral-ready covers.

Genres & themes in phases — electro-pop & indie club: heat and bravado; alt-pop confessionals: vulnerability; kitsch/retro: irony and comic relief; guitar-folk & soft synths: the “private” Raquel voice.

How It Was Made

Composer: Norwegian composer Andreas Gutuen Aaser handled the score — a minimal, modern bed that leaves wide lanes for source music. Music curation tilted heavily to Spanish/Latin indie catalogs and emerging artists aligned with Netflix’s young-adult brand strategy. There isn’t a single, official “various artists” retail album; instead, Netflix and fans circulated playlists mirroring the in-film cues.

Tracks & Scenes

“Fantasia” (Chico Blanco)

Where it plays:

~00:04 — Night quiet in Raquel’s room. The synth haze floats in from next door; she steps outside and catches Ares in the yard, cigarette lit. Non-diegetic bleed like neighbor noise.

Why it matters:

Names the movie’s mood: fantasy intruding on the everyday — literally through her window.

“Sola con mi voz” (Blanco Palamera)

Where it plays:

~00:07 — Under the football stands, rain coming on, Raquel spies Ares training. Slow-motion glances do the talking. Non-diegetic.

Why it matters:

Breathy, intimate production equals interior monologue; we’re inside her crush.

“¡Hola, mi amor!” (Chavales)

Where it plays:

~00:15 — Dinner at home. Raquel doom-scrolls Ares’s stories, earbuds in; mom nags about cold soup. Non-diegetic into subtle diegetic gag as she pulls a bud.

Why it matters:

Irony via title — this “hello” happens through a screen.

“Doble Check” (Axoletes Mexicanos)

Where it plays:

~00:19 — After Ares slips out Raquel’s window, we hard-cut to Yoshi on a sushi delivery run. Non-diegetic, brisk.

Why it matters:

Read receipts as romance grammar — the soundtrack’s teen realism.

“So So” (Ruslan Mediavilla Solovieva)

Where it plays:

~00:22 — Raquel enters Ares’s party, gets ushered to VIP with Apolo. Lights, bass, wary glances. Non-diegetic.

Why it matters:

Club-massive texture to mark the Hidalgos’ world as moneyed and performative.

“Tech Love (Otra Vez)” (Chico Blanco)

Where it plays:

~00:24 — Alleyway outside the club. Raquel and Ares kiss against brick; she pulls away with a quip. Non-diegetic.

Why it matters:

Digital romance, analog heat — the film’s thesis in one cut.

“Or Nai Lon” (VAN17INO6 & Davo Clean)

Where it plays:

~00:26 — Back inside: drinks with Apolo, dancefloor chaos. Non-diegetic.

Why it matters:

Ares’s brothers become characters with their own… BPMs.

“Si No Te Vuelvo a Ver” (Bea Pelea)

Where it plays:

~00:27 — Apolo too drunk; Raquel and Daniela ferry him out. Non-diegetic.

Why it matters:

The hangover foreshadows the night’s messy aftermath at Raquel’s.

“Quiero que vengas” (Amaia)

Where it plays:

~00:30 — Bed triangle: Raquel in between a passed-out Apolo and the very awake Ares. Whisper-close vocals, non-diegetic.

Why it matters:

Invitation as temptation; consent questions linger under the sweetness.

“Pulpito Reversible” (Autotune Angel, Lopoint)

Where it plays:

~00:32 — Debrief with Daniela; Yoshi plays it off his phone. Semi-diegetic.

Why it matters:

World-building: friends’ lives have their own soundtracks too.

“Invierno nuclear” (Adrián Montero López)

Where it plays:

~00:34 — Study session; Ares’s “gift” appears (the iPhone). Non-diegetic.

Why it matters:

Cold title for a warm gesture with strings attached.

“Sugar Mami” (La Zowi & Albany)

Where it plays:

~00:43 — Hidalgo pool party. “Never Have I Ever” turns spicy; cameras roll. Non-diegetic with crowd bleed.

Why it matters:

Brag energy before public humiliation beats land later.

“Cuánto Más” (Gabriela Casero Monge)

Where it plays:

~00:45 — Pool toss; necklace missing; trust issues deepen. Non-diegetic.

Why it matters:

Soft vocals against hard social dynamics.

“Búscame” (Robie)

Where it plays:

~00:52 — Backyard glow, two drinks, Yoshi tries to be the safe option. Non-diegetic.

Why it matters:

Title says it — he wants to be found; she keeps looking next door.

“Yo Sigo Igual” (Bad Gyal)

Where it plays:

~00:54 — Daniela kisses another guest after a fling with Apolo; party swirls. Non-diegetic.

Why it matters:

Fluid desire, fluid soundtrack.

“Lágrimas de amor” (Camela)

Where it plays:

~00:55 — Cheesy slow-dance as Raquel/Yoshi spin; she bolts after spotting Ares kissing someone else. Non-diegetic.

Why it matters:

Campy schlager as heartbreak mirror — a deliberate tonal wink.

“Para que no duela” (Albany & Goa)

Where it plays:

~00:56 — Night swim break-in at the school pool; dirty-water mishap. Non-diegetic.

Why it matters:

Teen chaos with a bittersweet hook — rebellion ≠ healing.

“Quizz” (VAN171NO6 & KILLMIYA)

Where it plays:

~01:00 — Raquel, drunk, stalls mid-street; a car blares the track as it pulls up. Source-leaning.

Why it matters:

City sound becomes soundtrack — danger bleeds into diegesis.

“La Chica Vampira” (Papa Topo)

Where it plays:

~01:15 — Ferris-wheel hookup → extended sex montage across rooftops and rooms. Cut off when security footage surfaces. Non-diegetic.

Why it matters:

Bubblegum with fangs — playful until consequences bite.

“I Hate U, I Love U (Te odio, te amo)” (Albany)

Where it plays:

~01:24 — Raquel flames out at the Hidalgo gala, flees home; tears meet laptop glow. Non-diegetic.

Why it matters:

Global hit reimagined locally — a teen-soap universal in Spanish skin.

“Te Brillan” (Cariño)

Where it plays:

~01:33 — Prom ball shimmer; Ares sprints to catch her. Non-diegetic.

Why it matters:

Glitter-pop apology music.

“Dame Estrellas o Limones” (Family)

Where it plays:

~01:37 — After Yoshi decks Ares, he tumbles into a bleach-filled pool; allergy panic. Non-diegetic.

Why it matters:

Twee pop against near-tragedy — the movie’s tonal tightrope.

“Canción de Pop de Amor” (Cariño)

Where it plays:

~01:47 → end — Raquel and Ares reunite in her room; end credits roll. Non-diegetic.

Why it matters:

Title-as-mission: a pop song about pop love closes a pop-driven film.

Also heard / trailer & deep-cuts

Additional cues tagged in credits and guides — “Cold Fear 20” (Selected Sound/Cornelus Bolten), Rebe’s provocatively titled micro-pop, Akron’s “Tricorder” — plus a trailer sync of Allie X’s “Devil I Know.”

Notes & Trivia

• The film’s compact original score is by Andreas Gutuen Aaser; most music moments are licensed songs.
• No single official “songs” OST dropped at release — Netflix/curators assembled playlists that mirror the movie’s cues.
• Two sequels expand the franchise with similarly eclectic playlists: Across the Sea (2023) and Looking at You (2024).
• The Ferris-wheel montage (“La Chica Vampira”) became the movie’s most re-shared music scene on socials.
• Prom’s indie-twee stretch (“Te Brillan” → “Canción de Pop de Amor”) re-centers the story away from the Hidalgos’ jet-set palette.

Reception & Quotes

Critics weren’t kind to the film, but even pans noted the wall-to-wall playlist energy. Fans, however, turned the soundtrack into discovery rails for Spanish indie pop.

“Nearly 30 needle-drops push the 116 minutes along like a DJ set.” Soundtrack guide

“A YA romance where the music often speaks more clearly than the lovers do.” Magazine coverage

Interesting Facts

• Local scene, global platform: Many artists here are Spanish indie names who saw global spikes post-release.
• Tonal whiplash by design: Kitsch ballads (“Lágrimas de amor”) play against angst — a teen-drama tradition.
• Diegetic fun: More than once, songs arrive from inside the scene (cars, phones), not only as score wallpaper.
• Trailer ≠ film: Allie X’s “Devil I Know” shows up in promo materials, not the feature itself.
• Playlist continuity: The sequels keep the franchise’s “playlist as narrative” identity intact.

Technical Info

• Type: Feature film soundtrack (song-driven with minimal score)
• Title: Through My Window (A través de mi ventana)
• Year: 2022 (Netflix release: Feb 4, 2022)
• Composer (score): Andreas Gutuen Aaser
• Label/album: No single official “Various Artists” album; curated/official playlists on Spotify/YouTube; score unreleased as a standalone at launch
• Selected notable placements: Chico Blanco “Fantasia”; Blanco Palamera “Sola con mi voz”; Chavales “¡Hola, mi amor!”; Axoletes Mexicanos “Doble Check”; La Zowi & Albany “Sugar Mami”; Papa Topo “La Chica Vampira”; Albany “I Hate U, I Love U (Te odio, te amo)”; Cariño “Te Brillan” & “Canción de Pop de Amor”; Family “Dame Estrellas o Limones.”
• Studios/Distribution: Nostromo Pictures — Netflix
• Trailer ID (figures): ibjAgqsgQzc

Questions & Answers

Who composed the original score?

Andreas Gutuen Aaser. The score is lean by design — the movie rides mostly on licensed songs.

Is there an official soundtrack album?

Not a single retail “songs” OST. Netflix-curated and fan playlists mirror the film’s cues across Spotify/YouTube.

What’s the Ferris-wheel montage song?

“La Chica Vampira” by Papa Topo — it runs under the extended hookup montage.

What plays over the final embrace and credits?

Cariño’s “Canción de Pop de Amor.”

Do the sequels use the same music approach?

Yes — Across the Sea (2023) and Looking at You (2024) double down on eclectic indie/Latin pop drops.

Key Contributors

Sources: soundtrack scene guides; official trailer & Netflix page; composer credit listings; Spotify/YouTube playlists; Spanish press spotlighting the soundtrack.

November, 29th 2025