French composers Clément Ducol and Camille received the prestigious original song award at the Oscars on Sunday for their track “El Mal.” Earlier in January, the duo had clinched a Golden Globe in the same category, cementing their success with this standout piece.
“El Mal,” part of the musical “Emilia Pérez,” not only showcases rich musicality but also carries a potent message. The musical, known for its multifaceted nature—including themes of transgender identity and contentious depictions of Mexican culture—has been a topic of debate. During her acceptance speech, Camille expressed their gratitude and highlighted the importance of their work. “We wrote ‘El Mal’ to denounce corruption, hoping it demonstrates how music and art can drive positive change in the world,” she declared.
The accolade was humorously presented by Mick Jagger, who quipped, “I wasn’t the first choice; they wanted Bob Dylan to do it.” Ducol and Camille triumphed over notable contenders, including Diane Warren’s “The Journey” from “The Six Triple Eight,” Elton John and his collaborators’ “Never Too Late” from “Elton John: Never Too Late,” and Abraham Alexander’s “Like A Bird” from “Sing Sing.” Notably, they also competed against their own work— “Mi Camino” from “Emilia Pérez”—nominated for the same award.
The duo arrived at the Oscars as first-time nominees with three nominations, including for original score, at the 97th Academy Awards. Reflecting on their journey, Camille expressed a sense of fulfillment post-nomination. “It’s a rollercoaster of emotions from anxiety to relief, filled with newfound energy,” she shared in January. “The recognition is significant, marking a film that’s free, provocative, and inherently compassionate—exactly what’s vital today.”
Ducol elaborated on the collaborative nature of their work. “We were integral to the story’s musical narrative from the onset, ensuring the music and script were woven seamlessly together. It’s not just an accompaniment; it is the story itself,” he remarked.
In other music-related news from the Oscars, Daniel Blumberg, a first-time nominee, celebrated his inaugural win for the original score of “The Brutalist.” Blumberg eclipsed esteemed competitors, including Ducol and Camille’s work for “Emilia Pérez.”
Accepting his award, Blumberg reflected on his journey. “Having been an artist for two decades, finding an artistic soulmate in Brady [Corbet, the director] felt pivotal.” Corbet’s film delves into the life of Lázló Tóth, a visionary Hungarian architect who survives the Holocaust, seeking his American dream and developing the architectural style from which the film derives its name.
Discussing his nomination news in January, Blumberg recounted the moment shared with Corbet that felt “surreal” yet significant, asserting that “The Brutalist” project bore urgency and non-compromise, driven by a team committed to its essence.
