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Polanski has always been a master of creating tension out of seemingly harmless circumstances, and J’Accuse follows up on his steps. In quite a few scenes, seemingly normal conversations grow increasingly menacing; frames always hide a corner of darkness; Desplat’s beautiful but slightly derivative ominous music erupts all of a sudden; onlooking characters observe from afar.

Working again with cinematographer Pawel Edelman and composer Alexandre Desplat, the director gives us a late-19th century France in which moral darkness seems to be fast descending — also explored previously in The Pianist and his Oliver Twist adaptation.

Rounding out the package is a score by Oscar regular Alexandre Desplat that brings out the lighter side of all the debt and despair.

Elsewhere, the film looks indifferent to the point of banal, and even Alexandre Desplat’s initially pleasant score starts to grate, with its Greek folk-music motif insistently reminding us of a Greekness we are in no danger of forgetting.

A documentary might have explored this paradox with greater verve and rigour; what we’re left with here is a kind of comedy of frustrations, scored by Alexander Desplat with a mix of tension-building chords and jaunty Zorba-like bouzouki music, and shot as efficiently as a mid-budget Euro TV pilot.

Then I did Wes Anderson’s new movie “The French Dispatch.”

Below, Desplat offers further insights into the crafting of his Little Women score. Additionally, the composer shares where he’s at with two highly anticipated upcoming projects: Wes Anderson’s The French Dispatch and Guillermo del Toro’s stop-motion take on Pinocchio.

The French Dispatch is an incredible, sophisticated story by Wes. The great thing with Wes is that he has no fear about what the music can do, and how we can assemble instruments that [one would not expect] to be assembled together. We’ve done that in the past with Mr. Fox, or Isle of Dogs, or Grand Budapest.

It’s always a strange set of instruments, and here again, we’ve played around with different types of instrumentation to create something weird. There’s a lot of bassoons and solo pianos, which we never really used in these movies; solo piano [is] rarely used in cinema now. And it’s a very, very challenging film. It’s incredibly virtuoso mise-en-scène, and I think to this day, it’s his most accomplished movie.

Pinocchio is a stop-motion movie, and I’ve been writing songs for that film.