Osmosis has been Wissam Hojeij’s guiding principle when composing film music throughout his fifteen-year experience. “The ideal relationship is an open collaboration with filmmakers, at the service of the films, and where I can leave my mark,”  Wissam says. His touch is altogether eclectic, demanding and bent on discovery. It reflects his professional journey which is both instinctive and spontaneous. Born to a  filmmaker father and a teacher mother, Wissam Hojeij first learned classical guitar at the Conservatory for 10 years, before becoming a multi-instrumentalist in independent bands. He then moved towards composing original film scores, drawing on his classical training combined with a non-academic approach as he collaborated with friends who studied  filmmaking and followed orchestration courses to enrich his palette. There followed about twenty short and ten long-feature movies that were selected in the most prestigious film festivals (Cannes, Berlinale). Those movies are all sublimated by his meticulous and demanding music production which is inspired by his first love for refined British pop.

As a French-Lebanese fluent in four languages, Wissam Hojeij is naturally open to the world, and hence to a great variety of artistic approaches and collaborations. Thus, for the Costa Rican feature film Ceniza Negra directed by Sofía Quirós Ubeda (Festival de Cannes, Semaine de la Critique 2019), he composed  an unexpected score for this Latin American film, based on sounds inspired by the main character's fascination for the Orient. For Headbang Lullaby by Moroccan director Hicham Lasri (Berlinale, section Panorama 2017), Wissam created an extravagant and psychedelic music that contrasts with the North African context and highlights the whimsical universe of the film. In 2018, Wissam Hojeij was selected to take part in the prestigious encounters Berlinale Talent and he then actively brought his expertise outside the studios: he was invited by Sacem and The French Institute to give a Masterclass on film music at the World Cinema Pavilion of the 2021 Cannes Festival. Moreover, he was a consultant for the Next Step workshops of the Semaine de la Critique.

In 2025, Wissam composed the soundtrack for two Latin American feature films: El Ladrón de Perros by Vinko Tomičić, winner of the Premio Platino for Best First Film, and Mi Bestia by Camila Berltrán, selected for ACID at the 2024 Cannes Film Festival.

In 2026, he composed the score for the Ivorian feature-length documentary Lonan Tché by Joël Akafou and continued his collaboration with Costa Rican director Sofia Quiros on her second film, Madre Pajaro (upcoming releases). Wissam was also selected for the prestigious Spot The Composer program at the Cannes Film Festival's Marché du Film. That same year, he composed an ambitious score blending contemporary sounds with compositions for piano and string orchestra for Chicas Tristes Fernanda Tovar’s debut Mexican feature, which won the International Grand Jury Prize and the Crystal Bear in the Generation section at the 2026 Berlinale and was released in French theaters in the summer of 2026.