“Lost in Starlight,” the animated Netflix film, intertwines the compelling stories of Nan-young, an astronaut on Mars, and Jay, an aspiring musician. One of the standout fictional elements in the film is the band The Moles, which serves as a key emotional and narrative thread, especially for Jay’s character. This band is at the centre of the movie, which runs the plot as the relationship dynamics between Nan-young and Jay deepen.
The Role of The Moles in Lost in Starlight
Within “Lost in Starlight,” The Moles is portrayed as an indie band that Jay was once part of and whose music profoundly shapes his identity and relationship with Nan-young. The band is crucial in expressing Jay’s internal struggles and his artistic evolution. Songs like Stay, performed by Jay during a significant moment in the film, are deeply personal and serve as a bridge connecting Jay to his past and to Nan-young.
The Moles’ music is woven into the narrative fabric, symbolizing dreams, memories, and the emotional resonance between the two leads. The band’s music style—indie pop with touches of chamber pop and alternative rock—fits Jay’s character as a sensitive, passionate musician grappling with performance anxiety and his desire to reclaim his place on stage.
Fiction Meets Reality with The Moles in Lost in Starlight
Despite the detailed portrayal of The Moles, the band itself is entirely fictional and created specifically for the film. However, the filmmakers have drawn from a rich palette of real-world musical influences to shape the sound and character of the band. The music producers and composers behind Lost in Starlight crafted original songs that echo the feel of early 2000s indie bands, drawing inspiration from groups like The Shins, Death Cab for Cutie, and Belle and Sebastian.
The aesthetic of The Moles—their style, instrumentation, and lyrics—reflects these indie pop influences, blending introspective storytelling with melodic hooks and nuanced arrangements. This deliberate crafting helps create authenticity, allowing audiences to connect emotionally with Jay’s journey through music, even though the band is not real.
The Creative Process Behind The Moles’ Music
The soundtrack of “Lost in Starlight” was developed with a strong focus on making the music an extension of the characters’ emotional lives. Jay’s performances, both solo and with The Moles, were designed to be authentic and relatable. Vocalists and musicians involved in the project were selected to embody the specific emotional tones needed—vulnerability, passion, and hope.
Interestingly, the film includes moments where music acts as a narrative device. For example, Jay’s song Stay is performed during a critical emotional juncture, echoing his personal struggles with self-doubt and his eventual reclaiming of confidence. The music’s integration is not just background ambiance but actively influences the story arc.
Comparisons to Real Bands Named “The Moles”
A point of confusion for some fans arises from the fact that there was an actual band called The Moles, an Australian indie rock band active primarily in the 1990s. This real-life Moles band, known for their psych-pop style, gained a cult following but has no connection to the Lost in Starlight project. The filmmakers have not cited the Australian band as an influence, nor do the fictional band’s style or storyline reflect that group’s history. The shared name appears to be coincidental, and “Lost in Starlight’s” The Moles should be regarded as a unique fictional creation.
Why a Fictional Band Was Chosen
Creating a fictional band rather than using a real one allows the filmmakers greater creative freedom to tailor the music and story to fit the film’s themes. It avoids licensing complications and ensures the songs can directly reflect the characters’ emotional states and plot developments.
Moreover, The Moles become a metaphor for Jay’s growth and for the broader theme of reconnection and hope that runs through the movie. The band is a narrative tool designed to deepen the audience’s understanding of Jay’s character and his bond with Nan-young.
