Netflix Music released The Good Lawyer soundtrack today. Film Music Reporter credits Amine Bouhafa with the original score and lists 20 tracks. Tristan Séguéla’s film arrives on Netflix the same day, starring Laurent Lafitte, Anthony Bajon, Mélanie Laurent and Carole Bouquet.
The durations are striking. Fourteen tracks run under two minutes. The shortest is 52 seconds, while the longest, A Good Lawyer, runs 3:51. That does not reconstruct the film’s spotting, but it does show an album built mostly from compressed forms.
The titles follow the thriller’s operations
The sequence moves through actions and objects: Hangover Pleading, Overdose, Blood Test, Uncovering the Conspiracy, Investigations, The List and The Sealed Phone. These titles describe information, pressure and decisions more often than reflective states.
The official synopsis gives the film a tight clock. After a courtroom overdose and rehab, lawyer Léonard Landry has one week to save his career and prepare for his own trial. That structure creates scenes with immediate objectives. Score can mark a turn, extend a threat or connect steps without needing a long standalone form every time.
I cannot assume that each album title maps to one scene. Releases may rename, combine or reorder material. The concentration of short pieces is still consistent with music designed to enter quickly inside a dense narrative machine.
A short cue needs an exact function
Short does not mean simple. A cue under two minutes has little time to introduce its language. Entrance, colour and movement need to read quickly.
In a courtroom thriller, music may separate physical urgency, external threat, evidence discovery, strategy and loss of control. If every cue uses the same acceleration, the score starts announcing danger before the scene has earned it.
The craft is to vary function within limited time. Pulse can launch action. Texture can hold uncertainty. An incomplete motif can connect several clues. A hard ending can sharpen a cut without turning every transition into a climax.
The title piece is the longest form
The opening track, A Good Lawyer, is also the album’s longest. It carries the film’s international title and has more room than the cues that follow.
On the album, that can work as an entry point: one developed statement before a run of fragments tied to the story’s operations. It does not establish how the film places the same music. Album order is its own editorial decision.
The contrast still offers a useful scoring model. Core material can exist in one complete form while the picture uses cells, colours and partial statements. Continuity does not require repeating a long theme unchanged. It can come from recognising the same musical identity inside very short interventions.
The final titles shift the language inward
After the procedural objects and actions, the sequence ends with The Sealed Phone, Clean and Mea Culpa. The last two titles leave investigation vocabulary for an altered state and an admission of fault.
Their exact placement in the film is not documented here. The published order nevertheless creates a listening progression from procedure toward responsibility. By the end of the album, the question is no longer only who holds the evidence. The sequence reframes the journey around the lawyer.
That is one job score can perform in a fast thriller. Scenes advance the case. Music can preserve an inner line between operations that might otherwise remain merely efficient.
A track list documents architecture, not process
The sources establish the composer, 20 titles and durations, director, principal cast and release date. They do not document instrumentation, private creative discussions or exact cue placement. I am not turning a track list into a production story Bouhafa has not told.
It does establish a clear release architecture: one developed title piece, a majority of short cues, action-oriented names and a more inward conclusion. For producers, the practical lesson is simple. A brief cue is not filler between dialogue scenes. It needs a precise job, a decisive entrance and an exit that allows the scene to keep moving.