This thesis explores the expressive and symbolic potential of the human voice in film scoring, focusing on the original soundtrack for Killing R, a dystopian short film. Through voice processing techniques such as formant shifting, pitch manipulation, and granular synthesis, the composer examines how vocal timbre can reflect themes of gender subversion, the uncanny, and the suppression of nature. Drawing on theories of embodiment, narrative agency, and sound design, the study positions the voice as both a musical instrument and a cultural signifier. The project illustrates how processed voice can serve as a powerful narrative tool—enhancing psychological depth, critiquing patriarchal structures, and contributing to the film’s speculative world-building.