The 'After the Hunt' Soundtrack: A Full Song-by-Song Breakdown
Director Luca Guadagnino's new film, 'After the Hunt,' uses a powerful and eclectic mix of music to drive its intense narrative. From classical masterpieces to indie rock anthems, discover every song featured in the Julia Roberts thriller and the pivotal moments they underscore in the story.
Luca Guadagnino, the acclaimed director behind *Call Me By Your Name* and *Challengers*, is known for his masterful use of music, and his latest thriller is no exception. *After the Hunt* stars Julia Roberts as Alma, a university professor whose life unravels after a student makes a serious accusation against one of her colleagues. The film, which also features Andrew Garfield and Ayo Edebiri, uses a carefully curated soundtrack to amplify its gripping narrative. The musical selections range from dramatic classical compositions and experimental pieces to soulful jazz and indie rock, all working together to underscore the story's deep moral complexities. Adding to the atmosphere is an original score by Trent Reznor and Atticus Ross, whose subtle piano themes weave a thread of doubt throughout the film.
Here is a list of songs in After the Hunt:
| Song | Artist |
|---|---|
| A Child Is Born | Tony Bennett & Bill Evans |
| Let’s Walk | Mark Harelik, Victoria Clark & Adam Guettel |
| Piano Concerto, II. Lento e deserto | György Ligeti & Pierre-Laurent Aimard |
| After the Hunt, One/ After the Hunt, One | Trent Reznor & Atticus Ross |
| Break With | Ryuichi Sakamoto |
| Evil Ni**er | Julius Eastman, Frank Ferko, Janet Kattas & Patricia Martin |
| Satta Massagana | The Abyssinians |
| L’incontro | Piero Ciampi |
| É Preciso Perdoar | Ambitious Lovers |
| Solea | Miles Davis |
| Terrible Love | The National |
| Heaven Knows I’m Miserable Now | The Smiths |
| The Death of Klinghoffer, Act II: Desert Chorus | John Adams, Kent Nagano, Opera de Lyon & London Opera Chorus |
| City Noir: III. Boulevard Night | John Adams, St. Louis Symphony & David Robertson |
| Ligia | Antônio Carlos Jobim |
| Nothing Left to Lose | Everything but the Girl |
| It’s Gonna Rain | By Ambitious Lovers |
| John Adams: The Death of Klinghoffer, Act II, “It is as if our earthly life were spent miserably” | Kent Nagano, The Opera De Lyon, The London Opera Chorus |
Early Tensions and Quiet Melodies
The film opens with the smooth jazz of Tony Bennett and Bill Evans's "A Child Is Born." This gentle ballad from their 1977 album *Together Again* plays during the opening credits, establishing an intimate and deceptively calm mood. The music introduces the main players and continues into the first scene at a dinner party, providing a subtle hint of the complex tensions simmering just below the surface of their polite conversation.
"Let’s Walk," a reflective theatrical piece from *The Light in the Piazza*, appears after the dinner guests have left. As Alma and her husband Frederik are left alone, the song's themes of moving forward and seeing people clearly mirror their conversation. Frederik dismisses Alma's friends, suggesting they only admire her, while Alma defends them, revealing the complicated nature of her relationships.
György Ligeti’s haunting "Piano Concerto, II. Lento e deserto" creates an eerie and hollow atmosphere during one of the film's most pivotal scenes. The piece plays as Maggie confides in Alma about her sexual assault. Instead of offering support, Alma recoils, creating a tense and abrupt end to their conversation. The music returns later as Maggie translates an old German newspaper clipping she found, slowly uncovering a hidden piece of Alma's past.
The Score of Doubt and Accusation
Trent Reznor and Atticus Ross’s original score piece, "After the Hunt, One," perfectly captures the creeping tension they are known for. Director Luca Guadagnino noted that the score was built around the central theme of uncertainty.
They brought me these extraordinary piano notes that underline the question of do we believe this person or not. This theme of doubt starts up in the first scene and keeps expanding.
The track underscores a tense meeting between Hank and Alma at a restaurant. Hank attempts to discredit Maggie by accusing her of plagiarism, all while admitting he went to her apartment on the night of the alleged assault, creating a web of conflicting stories.
Ryuichi Sakamoto’s "Break With" provides a backdrop that is both calm and uneasy. It plays during a delicate conversation where Maggie tells Alma she plans to press charges against Hank and asks for her testimony. Alma hesitates, suggesting her presence might actually harm Maggie's case, further complicating their dynamic.
The jarring and powerful composition "Evil Ni**er" by Julius Eastman erupts when Hank, furious about being fired, confronts Alma in her classroom. As he lashes out, the chaotic music reflects his unraveling. The intensity of the piece carries over to the moment Alma follows a distraught Maggie outside and finally offers her a comforting embrace.
Confrontations Set to Music
The Abyssinians' classic roots reggae track "Satta Massagana" brings a moment of calm, spiritual reflection. The song plays quietly as Alma retrieves a hidden envelope, takes out a photograph and other personal items, and methodically burns them, signaling a deliberate decision to erase a part of her history.
Piero Ciampi's bittersweet song "L’incontro" fills the air as Alma and Frederik wait for Maggie to arrive for dinner. The song, about preparing for a difficult meeting, perfectly captures the fragile, tense atmosphere in the room as Alma insists on waiting for her guest.
The Brazilian-infused art-pop of "É Preciso Perdoar" by Ambitious Lovers blasts from another room during a critical discussion between Alma and Maggie. As Maggie reveals a reporter has contacted her, Alma strongly advises against going public or pressing charges. The loud, energetic music contrasts with the raw, emotional weight of their conversation.
Miles Davis's slow-burning, flamenco-influenced jazz piece "Solea" from *Sketches of Spain* captures a moment of pure frustration. The track's simmering tension mirrors Alma's state of mind as she sits alone in her office, bombarded by repeated calls from Hank, until she finally snaps and throws her phone across the room.
A night out at a club is scored by two distinct tracks: The National's hazy, emotional "Terrible Love" and The Smiths' classic "Heaven Knows I’m Miserable Now." The songs play as Alma and her therapist, Dr. Kim, try to have a casual drink. The mood shifts when Dr. Kim mentions Maggie confided in a professor who was unsupportive, leading to a sharp, defensive reaction from Alma.
Resolution and Lingering Echoes
John Adams's operatic piece "The Death of Klinghoffer, Act II: Desert Chorus" accompanies a painfully awkward morning between Alma and Fredrik. As he tries to be affectionate, she pushes him away. His insecurity surfaces when he suggests she doesn't want him because he isn't Hank, and her silent agreement is more devastating than any words.
Another John Adams piece, the cinematic and tense "City Noir: III. Boulevard Night," swells during a major confrontation. After Alma's tenure is frozen, she storms into Maggie's office, accusing her of plagiarism and calling her privileged. The argument escalates until Maggie slaps Alma across the face.
Years later, Antônio Carlos Jobim’s soft bossa-nova classic "Lígia" plays during a reunion between Alma and Maggie. The song’s bittersweet tone of longing and restraint perfectly matches their polite but distant interaction at a café, where the weight of their shared past hangs unspoken between them.
The film concludes with "Nothing Left to Lose" by Everything But the Girl. This emotionally heavy electronic track from their 2023 comeback album plays as the screen cuts to black. The song serves as a final emotional beat, a vulnerable exhale after the intense and unresolved events of the story.