Éric DEMARSAN

Languages spoken: French

With a career spanning 60 years, Eric Demarsan most recently composed the score for Ali Mesbahi’s *TANGER BLUES* (2026) and the Netflix series *NOTRE-DAME, LA PART DU FEU*, directed by Hervé Hadmar, with whom he has maintained a long-standing collaboration: *LES OUBLIÉES* (2007), PIGALLE LA NUIT (2009), SIGNATURE (2011), ROMANCE (2020), as well as the series co-directed with Marc Herpoux: LES TÉMOINS (2014–2017) and AU-DELÀ DES MURS (2016).

“With its unique melodic sensibility, unconventional harmonies, and breathtaking orchestrations, Eric Demarsan’s music astonishes, surprises, and deserves to be appreciated in all its originality.” (Stéphane Lerouge)

He composed the scores for some of the greatest classics of French film noir, notably for Jean-Pierre Melville’s *L’ARMÉE DES OMBRES* (1969) and *LE CERCLE ROUGE* (1970). In 2020, he also composed the original score for the Arte documentary *MELVILLE, LE DERNIER SAMOURAÏ* as a tribute to the director.

These memorable scores led him to meet filmmaker Guillaume Nicloux in the 2000s, for whom he composed *A Private Affair*, *That Woman*, *Pierre’s Council*, *The End *, and the TV miniseries *The Gordji Affair: A Story of Cohabitation*.

From thrillers to comedies, from arthouse films to mainstream hits, Eric Demarsan has distinguished himself across all genres with a striking modernity that has been constantly reinvented over the decades, adapting to the evolving cinematic and audiovisual landscapes. This “inventive composer” (according to Thierry Jousse) has notably appeared in seven films by Jean-Pierre Mocky, including *L’IBIS ROUGE*, as well as in works by numerous other directors: Christian Gion in *C’EST DUR POUR TOUT LE MONDE*, Costa-Gavras in *SECTION SPÉCIALE*, Pierre Zucca in *ROBERTE*, and Patrice Leconte in *LES SPÉCIALISTES*, as well as in television with Pierre Granier-Deferre’s *LA DERNIÈRE FÊTE* and Jacques Deray’s *CLARISSA *.

Eric Demarsan made his mark in the film and television industry in the 1970s, notably through his work as an orchestrator for renowned film composers such as Michel Magne (from 1965 to 1967) and François de Roubaix. Working alongside them, he learned the craft on series such as Bernard Borderie’s ANGÉLIQUE, André Hunebelle’s FANTÔMAS, and François Villiers’ LES CHEVALIERS DU CIEL, as well as Jean-Pierre Melville’s LE SAMOURAÏ and Julien Duvivier’s DIABOLIQUEMENT VÔTRE.