I’ve selected three scores for May: one from Spain, one from South Korea, and one from Japan. While the Spanish and Japanese scores are primarily dramatic with rich string arrangements, the standout is Cho Young-wuk’s Korean score for the film NO OTHER CHOICE by the highly acclaimed director Park Chan-wook. It’s a true masterpiece of humorous writing with inventive orchestration and bold ideas.
Amarga Navidad / Bitter Christmas
Alberto Iglesias
THE FILM
Elsa, a successful advertising agency director, loses her mother during the holidays. Instead of grieving, she throws herself into work. However, a nervous breakdown forces her to go on vacation with her friend, leaving her husband alone.
THE MUSIC
Another collaboration between Almodóvar and Iglesias, and another quality symphonic score from the Spanish composer. As always, Iglesias emphasizes the strings, where we again find dense and elaborate writing to vividly portray the drama. Above the strings, he has placed the oboe and piano, lending a more sensitive tone. The listener will detect a touch of impressionistic music, as Debussy and Ravel hover in the atmosphere, while influences from Bernard Herrmann are also present, as in all of the Spanish composer’s work. The impression the music leaves as a standalone listening experience is one of intense loneliness and sadness, while the indirect melodies create a captivating mystery. This is an introspective score that might tire some, as the joyful compositions that would create a strong contrast are absent. The highlight of the score is the end credits, Créditos finales, comienza la Aventura, where the hyperactive strings captivate the listener with their rhythm and the development of the main theme.
NO OTHER CHOICE
Cho Young-wuk
THE FILM
After being fired from his job, Man-su decides that for his new venture, he must implement a bold plan: eliminate the competition.
THE MUSIC
A satire against the capitalist system by South Korean director Park Chan-wook, who once again collaborates with the same musician from his previous films, Cho Young-wuk (Oldboy, The Handmaiden, Decision to Leave, Lady Vengeance, Thirst). The film was released in 2025, but the score was released in May 2026. The music was recorded at the famous Abbey Road Studios and performed by the London Contemporary Orchestra. This is an incredibly clever score, brimming with humor and full of wonderful, bold ideas. While it begins subtly, as if foreshadowing disaster, it evolves into a celebration of satirical writing. As the protagonist proceeds with his diabolical plans, the music, instead of becoming dramatic, becomes pleasant and lively, imbuing the atmosphere with subtle irony. Thus, in the cue ‘Bugs are eating it alive,’ we have a pseudo-Baroque composition in the style of Bach, full of cheer. The incredible ‘Molar’ follows a similar vein, where violin and clarinet solos are accompanied by strings and harpsichord! Another exhilarating cue is ‘On the Rooftop,’ where the music stumbles as if it were the gait of a drunkard. However, the highlight of the score is the 7-minute ‘Le Badinage,’ where viola, violin, and cello create a delightful dialogue. Some jazz pieces disrupt the score’s homogeneity, but the symphonic themes are a gem.
The SAMURAI and the PRISONER
Yoshihiro Hanno
THE FILM
The film is directed by Kiyoshi Kurosawa, who is unrelated to the great Akira Kurosawa. The movie is based on Honobu Yonezawa’s novel and deals with the siege faced by King Murashige Araki in his own castle during the 16th century.
THE MUSIC
The score focuses more on drama than action. It’s noteworthy that despite being a war epic, there isn’t a single action cue. The emphasis is placed on the psychology of the characters awaiting destruction. Yoshihiro Hanno weaves very dramatic and slow-burning compositions, with no hint of Asian orchestrations or traditional instruments. The entire score is built on strings, which overwhelm the listener with their gloom, making the listening experience somewhat monotonous. The highlight of the score is the track ‘The Samurai and the Prisoner,’ where we break away slightly from the static and slow pace, and the strings are complemented by violin solos and woodwind phrases, creating a complete theme with a beginning, middle, and end.
Ideal May playlist:
- Créditos finales, comienza la Aventura – Alberto Iglesias
- Bugs are eating it alive – Cho Young-wuk
- Molar – Cho Young-wuk
- Le Badinage – Cho Young-wuk
- The Samurai and the Prisoner (end titles) – Yoshihiro Hanno
