Este Haim, the bassist for the Los Angeles-based rock band Haim, has expanded her creative pursuits beyond the stage with her recent work scoring the Netflix film “Voicemails for Isabelle.” The film, directed and written by Leah McKendrick, follows the story of a San Francisco chef grappling with the loss of her sister to cancer. The score, a collaboration between Haim and composer Amanda Yamate, underpins the film’s blend of warmth and emotional depth, capturing the delicate bond of sisterhood central to the narrative.

Haim, 40, who is also known for her affinity for the New York Knicks and her marriage to blockchain entrepreneur Jonathan Levin, described the experience of watching an early cut of the film as deeply affecting. Highlighting the personal resonance of the story, she reflected on her close relationship with her own sisters and the difficulty of imagining such a loss.

The film features a notable soundtrack, opening with Robyn’s “Dancing on My Own,” a choice that set a high standard for the musical elements. Haim acknowledged Robyn’s influence on the score’s sonic landscape, noting the band’s affinity for “sad dance songs” and the attempt to blend electronic and acoustic textures. The recording process included orchestral elements, with sessions held at the Village Studios’ renowned “Tusk” room, allowing for an expansive sound.

Alongside the score, the film incorporates music from Taylor Swift, a friend of the band. Haim praised Swift’s songwriting abilities, emphasizing her poetic approach to themes of yearning and acceptance within the context of girlhood.

Transitioning from performing as a lead member of a trio of frontwomen in Haim to collaborating on a film score required a shift in creative approach. Haim described the band’s internal dynamics as democratic, with ideas often challenged and refined through collective input—a process she finds similar to the collaborative nature of film scoring, where realizing another creator’s vision is paramount.

Haim’s interest in scoring developed inadvertently, inspired by observing composer Ludwig Göransson during studio sessions. She also cited other musicians-turned-composers such as Jonny Greenwood and Trent Reznor as significant influences, noting a shared background as performers prior to composing for film.

Reflecting on her musical beginnings, Haim credited her father’s encouragement and the influence of bass guitarist Tina Weymouth, whose performance in the concert film “Stop Making Sense” inspired her early adoption of the instrument. Growing up in Sherman Oaks, California, Haim recalled the contrast between her own modest artistic upbringing and the more industry-accessible lives of peers, highlighting a formative experience with a generous choir teacher who nurtured her early musical development.

With “Voicemails for Isabelle,” Este Haim continues to build on a multifaceted career that bridges rock performance and cinematic composition, drawing on personal experience and collaborative artistry to shape her contributions to film music.