Daniel Lopatin Details New Marty Supreme Soundtrack Album

Daniel Lopatin (Oneohtrix Point Never) has unveiled the soundtrack details for Marty Supreme, the forthcoming A24 film directed by Josh Safdie. The 23-track album, titled Marty Supreme (Original Soundtrack), arrives December 25 via A24 Music—the same day the film premieres in U.S. theaters.

The film stars Timothée Chalamet as Marty Mauser, an ambitious, slightly delusional table-tennis hopeful. The supporting cast is an eclectic mix, including Gwyneth Paltrow, Odessa A’zion, Kevin O’Leary, Tyler, the Creator, Abel Ferrara, and Fran Drescher.

Lopatin’s involvement continues his long-running creative relationship with the Safdie brothers; he previously scored Good Time, Uncut Gems, and collaborated with Benny Safdie on The Curse. The newly revealed tracklist—ranging from titles like “Marty’s Dream” and “Pure Joy” to “Fucking Mensch” and “I Love You, Tokyo”—suggests a soundtrack that moves between frenetic energy, surreal tone pieces, and emotional undercurrents characteristic of past Safdie-Lopatin collaborations.

The announcement positions Marty Supreme as another high-intensity, off-kilter Safdie project, and Lopatin’s soundtrack looks poised to be a major part of its personality. The track titles alone evoke the Safdies’ trademark blend of chaos, anxiety, sentimentality, and dark humor. Lopatin’s past work with the directors—his neon-fried synth panic in Good Time and the glittering, adrenalized textures of Uncut Gems—has been central to their films’ atmospheres, so his return signals a continuation of that aesthetic: claustrophobic, emotionally surreal, and deeply character-driven.

A few titles stand out as hints at the film’s mood arcs:

• “The Call,” “The Real Game,” and “Force of Life” imply a sports-movie narrative filtered through Safdie maximalism.
• “Holocaust Honey” and “Fucking Mensch” suggest a darker, abrasive comedic streak.
• “I Love You, Tokyo” and its reprise in the end credits point to a surprising emotional through-line beneath the film’s mania.

Overall, the article frames the project as a reunion of two artists who bring out the best—and wildest—in one another. The soundtrack’s Christmas release aligns it directly with the film’s theatrical debut, promising that Lopatin’s sound world will play a key role in defining Marty Supreme’s tone from day one.