How “A House of Dynamite” Uses Music for Thrilling Tension

Kathryn Bigelow’s “A House of Dynamite,” an apocalyptic political thriller, plunges audiences into a relentless state of unease from its opening moments. The film, which premiered at the 82nd Venice International Film Festival on September 2, 2025, and later streamed globally on Netflix starting October 24, 2025, masterfully constructs its tension through a confluence of expert filmmaking, with Volker Bertelmann’s (also known as Hauschka) evocative score playing a pivotal role in creating a palpable sense of anxiety.

The narrative unfolds as the U.S. government grapples with the immediate threat of a nuclear missile headed for the United States, interweaving perspectives from military personnel, White House officials, and the President himself. This intricate structure, combined with Bertelmann’s musical contributions, elevates the film beyond a mere ticking-clock thriller into a profound exploration of crisis and human response.

The Sonic Architecture of Anxiety: Volker Bertelmann’s Score

Volker Bertelmann, an Academy Award-winning composer known for his distinctive prepared piano techniques and scores for films like “All Quiet on the Western Front,” was tasked with crafting the musical landscape for “A House of Dynamite.” His approach was to imbue the film with an evolving sense of dread and urgency, ensuring the score actively contributed to the escalating tension rather than merely accompanying it. Bertelmann recognized the need for the score to develop significantly across the film’s three distinct chapters, stating that a composer needs “some things in your pocket to make the tension higher.”

The score’s opening moments are crucial, immediately establishing the film’s grim tone. Bertelmann aimed to present the “whole palette of music” early on, signaling to the audience that they were entering a dark thriller, not a romance. This initial musical statement sets an ominous precedent, putting viewers on edge from the very beginning with its “ominous score, heavy on the strident strings.”

Interplay of Sound, Editing, and Score

The palpable anxiety in “A House of Dynamite” is not solely the work of the score but emerges from a sophisticated interplay between Bertelmann’s music, Kirk Baxter’s editing, and Paul Ottosson’s sound design. This collaborative effort was key to maintaining the film’s high-stakes atmosphere.

Editor Kirk Baxter utilized Bertelmann’s score as a barometer for the emotional intensity of his edit. He observed that the score would often “peak at the end of Chapter One,” providing a clear dramatic marker before a narrative reset. These musical cues, combined with subtle audio hints, were designed to continually pull the audience back into a state of panic, making them question what would happen next.

Paul Ottosson, the film’s sound designer, approached each chapter with a distinct sonic strategy. In the initial chapters, where characters are presented as confident and skilled, the sound design gradually becomes more “tumultuous” as events spiral out of control. This evolution mirrors the score’s progression, with both elements converging to reflect the characters’ diminishing control over their environment. Ottosson’s philosophy was to prioritize realism, asking military advisors what a situation would genuinely “sound like” rather than opting for merely “cool” effects.

Chapter-by-Chapter Escalation of Tension

“A House of Dynamite” is structured into three chapters, each revisiting the same 18-minute window of crisis from different vantage points. Bertelmann’s score, in concert with the editing and sound, subtly shifts its texture and intensity to match the specific emotional and narrative focus of each segment.

Chapter One: The Immediate Threat

The first chapter focuses on Captain Olivia Walker (Rebecca Ferguson) in the White House Crisis Room and Major Daniel Gonzalez (Anthony Ramos) in Alaska, as they react to the incoming missile. Here, the music immediately establishes the dire stakes, providing an “urgent thriller” atmosphere. The score works to amplify the initial confusion and frantic attempts to understand and intercept the threat, with Bertelmann deliberately shaping the music to pull back and then surge forward, guiding the audience through the initial shock.

Chapter Two: Shifting Perspectives and Sustained Panic

Chapter Two resets the timeline to the start of the day, showcasing other departments and characters grappling with the same unfolding crisis. Baxter noted how the score quickly signals to the audience that despite the reset, they are still “in it” – deeply immersed in the ongoing panic. The tension is sustained through the relentless pacing and the unsettling musical backdrop, reinforcing the pervasive sense of dread even as new information or perspectives are introduced. The deliberate choice to hold on shots of a black screen, representing an unheard figure, coupled with moments of silence, intensifies the anticipation, making the eventual revelation all the more impactful.

Chapter Three: The Human Element and Deliberation

The final chapter shifts focus to the Oval Office and the President (Idris Elba), who has previously only been heard via a black box. This section emphasizes the profound human element of the crisis. Here, Bertelmann’s score, and notably, strategic moments of silence, become crucial. Editor Kirk Baxter highlighted how the initial chaos created by the score and sound in the earlier chapters fosters a “great appreciation for the delicate human factor” in the President’s solitary decision-making process. The music becomes more reflective, underscoring the immense burden of command and the personal toll of such a catastrophic event, even incorporating sounds of nature to highlight the contrast between human anxiety and the indifference of the natural world.

The Pursuit of Authenticity

The creative team’s commitment to realism significantly bolstered the film’s tension. Access to military advisors, such as Dan Karbler, allowed the filmmakers to ground the intense scenarios in plausible reality. This dedication ensured that the sounds and the overall atmosphere reflected what professionals would genuinely experience in such critical situations, further immersing the audience in the film’s harrowing narrative.

Conclusion

Volker Bertelmann’s score for Kathryn Bigelow’s “A House of Dynamite” is far more than a background accompaniment; it is an intrinsic component of the film’s architecture of tension and anxiety. Through its careful development across the film’s segmented narrative, its seamless integration with Kirk Baxter’s editing and Paul Ottosson’s sound design, and its unwavering commitment to emotional authenticity, Bertelmann’s music guides the audience through a visceral experience of impending global catastrophe. It serves as a constant, evolving reminder of the fragility of peace and the profound weight of human decisions in a world on the brink. The score doesn’t just tell the audience that danger is present; it makes them feel it, deeply and uncomfortably, leaving a lasting impression long after the credits roll.