Charli XCX Steps Into the Spotlight as Film Composer

2024 was all about Brat. Some might not recall the days of ‘Break the Rules’ and ‘Famous’ blaring through their headphones while scrolling Tumblr, and younger punters probably missed the endless radio play of ‘Boom Clap’. Still, Charli XCX has always had a knack for reading the room. She’s been ahead of the game since her teens, dropping her debut album, 14, just after turning 15. The early tracks might not hit the heights of ‘365’ or ‘Von dutch’, but you can hear the beginnings of her signature style—dancey, electro-pop beats paired with her deadpan delivery. Once she hit the mainstream, she became the unofficial soundtrack for a generation glued to their screens, before veering into the more experimental world of hyper-pop, where tracks like ‘pink diamond’ stood out for their glitchy, abrasive edge. By the time Brat landed, there was no escaping her. The album became a cultural touchstone, with neon green now forever linked to its legacy—even Kamala Harris used it in her campaign promos. The singles were everywhere, with lyrics about “living that life” and “doing a little line” at the club, TikTok was flooded with dances to ‘Apple’, and clips of Charli strutting in dark sunnies were hard to miss. It’s music for the party crowd, but there’s a thoughtful side too, like in ‘I think about it all the time’, which reflects on motherhood.

From Pop Star to Film Composer

So, what’s next for Charli? She’s gearing up to make a splash as a film composer, with a full album’s worth of music for Wuthering Heights due in February 2026. Two tracks are already out, including the hypnotic ‘House’, a collaboration with John Cale. She’s also credited as a composer for David Lowery’s upcoming film Mother Mary, starring Anne Hathaway, set to hit screens next year.

This isn’t her first go at soundtracks. She worked with Leo Birenberg on the score for Bottoms in 2023, with production help from AG Cook of PC Music fame. Before that, she recorded ‘Hot Girl’ for Bodies Bodies Bodies. But Bottoms marked her first full score, focusing on instrumentals rather than pop bangers. With Brat sandwiched between two film projects, it’s clear she’s not straying far from Hollywood, especially as she’s popping up on screen more often these days.

Charli’s Cinematic Ambitions

Charli’s been sharing her love for films on social media, posting her favourite picks on TikTok—often going for the more obscure ones. Her acting credits are growing too, with roles in upcoming titles like Erupcja, 100 Nights of Hero, and Sacrifice. She’s also set to appear in Gregg Araki’s I Want Your Sex and a new project from Takashi Miike.

With her place in pop music well and truly cemented, is she about to take over the film world as well? Her acting has split opinions, but her move into composing has been met with interest. There’s a real need for more women in the field—how many can you name off the top of your head?—and for composers who bring something fresh to the table. Some soundtracks in recent years have stood out, like Broadcast’s work for Berberian Sound Studio or Air’s dreamy, melancholic score for The Virgin Suicides. These albums carve out their own space, moving away from the usual film score formula, and that’s a quality Charli seems to share.

Shaking Up the Soundtrack Scene

If ‘House’—a haunting, abrasive track made with Velvet Underground’s John Cale—is anything to go by, Charli could be just the shake-up film music needs. Her Wuthering Heights soundtrack is shaping up to be more interesting than what’s been seen so far from Emerald Fennell’s take on the classic novel, which hasn’t exactly wowed early viewers. Maybe Charli’s music will be the saving grace (though it’s probably best to wait and see). There’s hope that the Mother Mary score will be just as compelling as her previous work, and that more film projects are on the cards. With her experimental roots and knack for the unexpected, she’s got what it takes to bring a new energy to film composing.