Haruomi Hosono’s Music for ‘Shoplifters’, by Hirokazu Kore-eda

With Shoplifters, the 2018 film that won the Palme d’Or at the 71st Cannes Film Festival and swept 13 awards at the 42nd Japan Academy Prize, including Best Picture and Best Music, director Hirokazu Kore-eda and composer Haruomi Hosono wrote a new page in cinematic history. But what is it that Hirokazu Kore-eda sees in Haruomi Hosono’s music as a filmmaker?

Music That Emerged Spontaneously, Yet Defined a Film

A longtime admirer of Haruomi Hosono’s film scores, Hirokazu Kore-eda felt a deep connection between his own cinematic style and the composer’s sound.

‘I’ve always loved the music in Night on the Galactic Railroad (1985) and House of Himiko (2005). In both cases, the soundtrack is just as memorable as the film itself. But it’s never overpowering—it doesn’t swell with emotion in a way that dominates the scene. Instead, it lingers close to the everyday, staying right beside the characters. I felt that was a perfect match for my films as well. When the vision for Shoplifters took shape, House of Himiko immediately came to mind, and I used its music as a placeholder. There’s even a scene where Lily Franky’s character is playing tag with the young boy in a parking lot, and for that, I initially used music from Night on the Galactic Railroad.’

In fact, Shoplifters was not Hirokazu Kore-eda’s first attempt at working with Haruomi Hosono.

‘There were a few films before this where I had hoped to collaborate with him. Some projects fell through before they could be realized. So when I finally got the chance to ask him for Shoplifters, it felt like a long-held dream coming true.’

The film’s score delicately captures the tension of secret-filled lives and the quiet warmth of bonds forged in the shadows. Built around acoustic instruments like guitar and mandolin, it exudes a tender and understated beauty.

‘We didn’t go into too much detail in our discussions. I would simply offer keywords like, ‘For this scene, I imagine a sound like the bottom of the sea.’ And he would create something incredible. For instance, the music in the opening shoplifting scene has a certain French noir feel, like a crime film. The way the music moves in sync with the images is just perfect.

When I first visited Haruomi Hosono’s studio, I showed him clips from Shoplifters. His immediate response was, ‘It has the scent of Italian neorealism—like a Pietro Germi film. So the music should sound something like this?’ And right then and there, he picked up a guitar and started playing. It was overwhelming—I was completely floored. That piece ended up almost unchanged as Shota & Yuri on the soundtrack.’

Finally, Hirokazu Kore-eda reflects on the unique presence that makes Haruomi Hosono so captivating.

‘There’s a lightness to him—this effortless ease that is so comfortable to be around. Even in live performances, he never forces the energy. That restraint, that sense of composure, is what makes him so profoundly ‘mature’ in the best way. To me, Haruomi Hosono is one of the rare figures who embodies what it means to be a truly cool, older artist.’

Hirokazu Kore-eda’s Top 3 Haruomi Hosono Tracks

「ケンタウルスの星祭り」 (‘Centaur Festival Night’) – Night on the Galactic Railroad OST
‘A piece so vivid, I can recall the film’s imagery just by hearing it. When I told Haruomi Hosono this, he said, ‘I could never make something like that again.’’

「母の写真 」(‘Mother’s Photograph’) – House of Himiko OST
‘His music never tries to dominate the scene—it emerges naturally, as if from within the film itself. That’s what makes Haruomi Hosono’s soundtracks so special.’

「Shota & Yuri」 – Shoplifters OST
‘He played this for me in his studio when we first met. I was so moved, I don’t even remember what happened afterward.’