His films frequently feature atonal and serialist compositions, particularly through collaborations with composer Peer Raben, creating a dissonant soundscape that mirrors modernist aesthetic principles.

His use of contemporary classical and experimental music scores—especially by composers like Vittorio Gelmetti and Giovanni Fusco—emphasizes silence and fragmented tonality to convey existential alienation.

He deliberately employed modernist composers like György Ligeti and commissioned avant-garde scores that use unconventional orchestration and atonality to create unsettling, cerebral atmospheres.