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Jul 10, 2024Eiko Ishibashi’s soundtrack skilfully and subtly complements the film’s themes, capturing stillness, beauty, sorrow and uncertainty in such a way that the album succeeds on its own terms as a nuanced listening experience.
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MojoJul 3, 2024Ishibashi’s latest score is again subtle, delicate, but robust enough to blossom away from the film itself. It’s her balancing of disparate elements that’s so impressive. [Aug 2024, p.87]
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The WireJul 3, 2024This is a complex, affecting work by Ishibashi, but listeners are advised to seek out the film to experience it in context. [Jun 2024, p.50]
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Jul 3, 2024As a standalone soundtrack Evil Does Not Exist is a fine addition to Ishibashi’s singular work – the mood is darker and eerier than her fêted Drive My Car, but it’s the stronger album nonetheless. [Jul 2024, p.33]
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Jul 3, 2024The music rewards multiple listens, with different emotional subtleties emerging in each one.
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Jul 3, 2024The cloudier nature of Ishibashi’s score leaves it feeling less like a standalone piece than the soft, jazzy pop of her Drive My Car soundtrack. But as a mirror to Hamaguchi’s tale of creeping environmental anxiety, Ishibashi’s ghostly music makes a rich companion.