OUR LITTLE SISTER / 海街diary

When Hirokazu Kore-eda and Yoko Kanno collaborate, there’s only one piece of advice to follow: get your tissues ready, because tears are inevitable.

First things first: if you haven’t seen this film, stop reading and go watch it! It’s a masterpiece of emotion and cinematography. Hirokazu Kore-eda delivers one of his finest works, all supported by Yoko Kanno’s breathtaking score.

Let’s have a brief reminder (if one is even needed) of who Hirokazu Kore-eda and Yoko Kanno are.

Born on June 6, 1962, in Tokyo, Hirokazu Kore-eda is a renowned Japanese filmmaker known for his innovative, understated, and almost documentary-like approach to fiction. His films often explore family chronicles, grief, lies, abandonment, guilt, the challenges of parenthood, and children’s solidarity. His delicate and subtle storytelling, filled with reserved emotions and outstanding direction, has drawn comparisons to Yasujirō Ozu and Anton Chekhov, though Kore-eda himself cites Mikio Naruse and Ken Loach as key influences.

Born on March 18, 1963, in Sendai, Yoko Kanno is a celebrated Japanese composer. Best known for her work on anime soundtracks, she has also collaborated with various artists in genres like J-pop. She is among the most respected composers by both veteran and new wave directors, including Yoshiyuki Tomino, Shinichiro Watanabe, and Shoji Kawamori.

Now, let’s dive into the soundtrack of the heartwarming family drama Our Little Sister.

Album Overview

The first thing you’ll notice is that, despite containing 22 tracks, the album is quite short—only 28 minutes long.

But does this brevity affect its quality? Absolutely not.

Yoko Kanno delivers a work of exquisite beauty filled with emotion, nostalgia, and romance (those violin solos… always effective). The harp features prominently throughout nearly every piece.

While the compositions may appear similar at times, each one possesses unique elements that make it memorable. Here lies Yoko Kanno’s genius: she crafts simple yet profoundly moving melodies that evoke tears, smiles, and nostalgia—melodies that linger in the mind long after the music has ended.

Let’s explore some standout compositions in detail.

Natsu No Hyoshi

As mentioned, the harp plays a central role in this soundtrack.

Natsu No Hyoshi is both simple and complex. Simple in its instrumentation—harp, piano, and glockenspiel—but complex in its rhythm, pauses between melodies, and fluid harmonic structure. Every element keeps us on edge, wondering, “Where are we headed?”

This mirrors the film itself, where sisters navigate unfamiliar situations. The track concludes with a gentle crescendo of strings, leading seamlessly into the next piece, the film’s main theme.

Umimachi Diary

The piano opens with two repeating notes, creating a sense of anticipation. Strings enter next, and what an entrance! The melody played by violas, supported by pizzicato double bass and understated cellos, immediately captivates. Violins then take over with long, sustained notes, accompanied by flute and harp. Yoko Kanno follows this with a romantic violin solo reminiscent of 19th-century romanticism, before returning to the first theme with a soft, melancholic finish.

This piece perfectly encapsulates the film’s theme.

Kajikasawa Iki

Despite its brevity, this piece is full of surprises. Once again, rhythm drives the unexpected, keeping listeners engaged. Harp and piano play together, but with sparse, intermittent notes. Woodwinds punctuate the melody.

Just as the ear adjusts to the fragmented rhythm, a pattern begins to emerge, allowing for a brief, powerful string section that suddenly elevates the entire piece—a fleeting moment of grounded reality before it fades away.

Yoko Kanno demonstrates here how much can be achieved with so little.

Suzu No Theme

Suzu No Theme is pure tenderness. It opens with the harp, evoking lightness and tranquility. Strings soon follow, transforming this serenity into bittersweet nostalgia, before segueing into a variation of the film’s main theme (Umimachi Diary), with the piano taking the lead.

In just 1 minute and 39 seconds, Yoko Kanno takes us on a journey through a cascade of emotions.

Ryoashi Tukai

Once again, Yoko Kanno highlights the power of rhythm in conveying emotion. Strings and piano dominate, inviting us into a race filled with minor obstacles—flute, clarinet, and cello interjections punctuate the journey. Meanwhile, the piano’s repetitive notes provide a sense of constancy amid the turmoil.

This piece perfectly reflects life itself: a steady march forward, dotted with challenges and surprises.

Illumina

This is one of my favorite tracks on the album. The piano, once again paired with the harp, establishes a constant, comforting motion. Discreet pizzicatos appear intermittently. Most notably, the melody is carried by a solo vocal line—not a choral arrangement, but a single voice. Is this a song or an orchestral composition? I leave that to you to decide.

One thing is certain: as the piece unfolds, its sounds intertwine like a dazzling firework display, illuminating the mind. Strings subtly support the voice in the final measures, and the piece ends suddenly, like a sparkler fading out.

Conclusion

Though brief, this soundtrack offers many surprises. Yoko Kanno’s compositions are by turns melancholic and festive, always touching the heart and reminding us of life’s simple moments—its joys and sorrows. The only criticism (if it can even be called that) is the repetition of certain themes in such a short album. But I can’t help but feel this is simply because I want more—the melodies linger so vividly in my mind.

I’ve only scratched the surface of this OST, so I strongly encourage you to listen to it—and above all, watch the film! You won’t regret it.

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