"It's Only the End of the World " Soundtrack Lyrics

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"It's Only the End of the World (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

What does a homecoming sound like when every room is a fuse? The film answers with two voices: Gabriel Yared’s compact, lyrical score (17 cues, ≈32 minutes) and a small, pointed set of pop selections that ricochet between intimacy and cultural memory. The needle-drops don’t chase chart nostalgia for its own sake; they frame who belongs to which world inside the house.

The official score album—It’s Only the End of the World (Original Motion Picture Soundtrack)—collects Yared’s cues (strings, piano, fragile dances) and folds in a few licensed tracks on digital editions. Around it, Dolan places songs from Camille, Blink-182, Moby, Foals, Grimes, Jimmy Eat World, Lost Frequencies, Exotica, and O-Zone. As covered by French press roundups and album pages, the mixture aims for “happy-sad, nostalgia-filled” texture rather than a wall-to-wall playlist.

Questions & Answers

Who composed the score and is there an album?

Gabriel Yared composed the original score. Yes—an official 17-track album (~32 minutes) was released in September 2016.

Which songs does the film feature most prominently?

Among the key tracks: Camille’s “Home Is Where It Hurts,” Blink-182’s “I Miss You,” Moby’s “Natural Blues,” Foals’ “Spanish Sahara,” Grimes’ “Genesis,” Jimmy Eat World’s “Hear You Me,” Lost Frequencies’ “Are You With Me,” Exotica’s “Une miss s’immisce,” and O-Zone’s “Dragostea din tei.”

Is there a separate “songs” compilation?

No. The commercial release is Yared’s score; the licensed tracks are cleared for the film but not presented as a standalone VA album.

Does the period line up for every song?

No. One pop hit (O-Zone) is knowingly anachronistic; the choice is thematic, not documentary.

What label released the score?

MK Productions under exclusive license to IDOL handled the digital release on services like Apple Music and Spotify.

How many cues are on the score album and what’s the tone?

Seventeen concise pieces: wistful, chamber-leaning, with waltz figures and tense ostinatos rather than big overtures.

Notes & Trivia

• The opening track in the film is Camille’s “Home Is Where It Hurts,” essentially a thesis for Louis’s headspace.
• “Natural Blues” by Moby closes the film; Dolan has said he wanted a “happy/sad” aftertaste rather than catharsis.
• “Dragostea din tei” scores an awkward, tender family dance; the anachronism is deliberate.
• Yared’s cue “Par nostalgie” became the album’s soft signature outside the film’s release window.

Genres & Themes

Chamber score (strings/piano) → micro-swells for breath held at the table; nostalgia in minor keys; motion without release.

2000s pop/alt → private worlds and generational edges (Blink-182, Jimmy Eat World, Foals, Grimes).

Global earworms & club pop → family’s shared, kitschy present (O-Zone; Lost Frequencies) that papers over rifts for a minute.

Tracks & Scenes

“Home Is Where It Hurts” — Camille
Where it plays: Opening arrival sequence in the taxi (non-diegetic).
Why it matters: The lyric sketches Louis’s dread with brutal economy; the film’s first heartbeat.

“I Miss You” — Blink-182
Where it plays: A bruising exchange spills out; the song lingers at low level (source/low-mix feel).
Why it matters: Teen-goth ache reframed as adult stasis—an attitude that never quite left.

“Spanish Sahara” — Foals
Where it plays: A stretch of raw anxiety and solitude (non-diegetic).
Why it matters: Long-line melancholy to mirror the character’s internal weather.

“Hear You Me” — Jimmy Eat World
Where it plays: Memory and regret intercut with present-tense restraint (non-diegetic).
Why it matters: Grief without theatrics; the chorus lands even when clipped.

“Genesis” — Grimes
Where it plays: Brief, crystalline motif tied to Louis’s interior world (non-diegetic, short excerpt).
Why it matters: An art-pop shard that marks the cultural gap inside the house.

“Une miss s’immisce” — Exotica
Where it plays: A sensual flashback triggered by a familiar object (non-diegetic).
Why it matters: Desire as evidence; Dolan lets the track do the remembering.

“Are You With Me” — Lost Frequencies
Where it plays: Daylight ambience that belongs to the family’s shared mainstream (diegetic/room).
Why it matters: Popular comfort food—background music that says “we’re fine” when they aren’t.

“Dragostea din tei” — O-Zone
Where it plays: A halting living-room dance that almost becomes connection (diegetic).
Why it matters: Joy arrives wearing kitsch; for a few bars, it works.

“Natural Blues” — Moby
Where it plays: Final passages into end credits (non-diegetic).
Why it matters: A last, bittersweet plume—weight without verdict.

Score cues — Gabriel Yared
Where they play: “Après toutes ces années-là,” “Par nostalgie,” “Valse d’adieu,” and related miniatures (non-diegetic).
Why they matter: Waltzes and tremolos give the rooms shape; memory moves like a slow dance you can’t stop.

Music–Story Links

Pop marks the porous edges between characters—what they share, what they don’t. The score seals rooms and keeps time on the arguments. When the family borrows a goofy hit for a dance, the house almost invents a future; when Yared returns, the film remembers why Louis came home.

How It Was Made

Composer Gabriel Yared built a chamber palette—piano and strings with waltz nuclei. The licensed songs were hand-picked by Dolan to create “happy/sad” nostalgia spikes; French coverage itemized nine prominent cuts, and credits listings align with that inventory. The official score album arrived digitally with 17 cues via MK Productions/IDOL.

Reception & Quotes

Festival reaction split, but even detractors noted the needle-drops’ potency and Yared’s restraint.

“A frequently excruciating experience, saved from monotony by canny music choices.” Trade coverage

“The soundtrack is small but surgical—when it plays, you feel the dial move.” Album notes

Additional Info

• Score album: 17 tracks, ≈32 minutes; digital worldwide.
• French technical listings credit Yared alongside the licensed artists; the film relies on repetition rather than quantity.
• One major cue reportedly nods to Bach’s C-minor prelude as a structural inspiration.
• The “Dragostea din tei” scene is intentionally time-out-of-joint; the anachronism is part of the point.
• No commercial VA “songs” album; placements verified via press and credits.

Technical Info

• Title: It’s Only the End of the World (Original Motion Picture Soundtrack)
• Year: 2016
• Type: Film score (Gabriel Yared) + licensed songs in picture
• Composer: Gabriel Yared
• Label: MK Productions under exclusive license to IDOL (digital)
• Runtime (album): ≈32 minutes; 17 cues
• Selected notable placements: “Home Is Where It Hurts”; “I Miss You”; “Spanish Sahara”; “Hear You Me”; “Genesis”; “Une miss s’immisce”; “Are You With Me”; “Dragostea din tei”; “Natural Blues”

Canonical Entities & Relations

Subject	Relation	Object
It’s Only the End of the World (film, 2016)	directed by	Xavier Dolan
It’s Only the End of the World (film)	music by (score)	Gabriel Yared
It’s Only the End of the World (score album)	released by	MK Productions / IDOL (digital)
Camille	performed	“Home Is Where It Hurts” (in film)
Blink-182	performed	“I Miss You” (in film)
Moby	performed	“Natural Blues” (end credits)
Foals	performed	“Spanish Sahara” (in film)
Grimes	performed	“Genesis” (in film, excerpt)
Jimmy Eat World	performed	“Hear You Me” (in film)
Lost Frequencies	performed	“Are You With Me” (in film)
Exotica	performed	“Une miss s’immisce” (in film)
O-Zone	performed	“Dragostea din tei” (in film)

Sources: official trailer; Apple Music and Spotify album pages (release/date/length); IMDb soundtrack and credits pages; Les Inrockuptibles’ track-by-track feature; film overviews noting Dolan’s “happy-sad” music aim.

The film’s limited roll in cinemas starts September 21, 2016. It is of those films that please the drama-lovers only. The plot is primitive, but it allows the tension to grow: a terminally ill person comes to his family after 12 years of absence. He barely knows them & has nothing in common except blood, which he’d rather didn’t have too. The presence of such masters of their métier as Vincent Cassel and Marion Cotillard doesn’t suppose to have bad storytelling. In fact, this movie has become the official winner in Cannes 2016 in one category, and a director even said on this occasion – ‘I prefer the madness of the emotions to the wisdom of indifference’. Nevertheless, the most part of viewers & critics gave it mixed reviews, even below the ones, which are assigned on Golden Raspberry every year – it holds for now 39% of approval rate. This is a very low indicator. As for the soundtrack – it is not extensive. Even more – such short list is rarely found. Moby is the biggest star of these half-dozen items. Two of other participants have French texts in their lyrics: Camille and Exotica. Other names aren’t too big also, like Grimes – the Canadian young singer. But in the most cases, clips to the songs are rather interesting. Basically, every song’s clip is exciting, with the most ones I Miss You by Blink-182 and Genesis. By the way, lyrics of ‘Home Is Where It Hurts’ has interesting concept – that your house is actually a pain place, not salvation shelter. It is true only for this movie with aggravating tension throughout the evolving and for those poor fellows, who aren’t confident in their own lives and can’t do anything right. So, if to spend an hour and a half on this French drama with nothing drolly, then you must be prepared for a cheap psychology, not a deep sophistication, as it may seem.

November, 11th 2025

It's Only the End of the World | IMDb, It's Only the End of the World | Wikipedia, It's Only the End of the World | Toronto International Film Festival

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