You can work director down or composer up. I hope I'm on topic discussing composer up. IMDB in full cast and crew documents the sound roles. You can click on the sound persons and find their other work.
Another source for discovery is looking at the Oscars and other reputable movie award nominees over the years for sound categories.
It brings a smile to my face so many ASR posts have mentioned Walter Murch. He has a book and many interviews on video which can be easily found.
There is a lesser role for music supervisors who bring pre-existing recordings, often pop, but sometimes symphonic, into the score. Music supervisors also find recordings for advertising which usually do not have the budget for original composition and recording. Many friends have been music supervisors.
Our local classical music stream has a program which looks at composers who contribute to the director, rather than which directors hire who.
https://www.thescore.org/
It is well worth streaming.
There are also many video interviews with Hans Zimmer, and probably other sound designers and film composers.
I'm sure it has been mentioned -
Making Waves -
a documentary on sound design and
RIP: A remix manifesto -
which discusses sampling and the hard block of samples in movie releasing.
I am a fan of the movie Until the End of the World (1991) by Wim Wenders.
It used a lot of pop - essentially much of it is a movie video. I love his use of Pigmy field recordings in Central Africa. Wenders is also famous for his documentary Buena Vista Social Club. So I would call his music choices authentic to the movie, rather than a sound across movies. But the release of Until the End of the World, streaming, and DVDs, is severely limited because of the need to license the music in every country.
The other modern approach is editing picture to the soundtrack, rather than composing soundtrack to picture. My favorite example is Dogtown and the ZBoys (2002). You have to see it, the trailer is an edit of an edit, not to sound sync picture edit.
The picture and the music comes together with the editor. The director approves the music and approves the edit.
I really enjoy the Japanese style of cinematic composition. An example is Avalon (2001) and the director Mamoru Oshii's many other works.
https://www.imdb.com/name/nm0651900/?ref_=tt_ov_dr So I guess I am firmly back on topic!