Directed by Hwang Dong-hyuk and released in 2017, this was Sakamoto's first participation in a Korean film. The reality of the extreme conditions of the siege, with its starvation and cold, shot entirely on location, is incredible, but Sakamoto's addition of various sounds elevates the film to another dimension beyond mere historical fiction. Ultra low frequency and noises in "Vacant Throne", analog synth chords and low bass in "The Fortress Title", deep reverbed piano inside in "Dispute", modular synth noise in "Yong's Threat".... Noise ... ... they sound like the sound of his late solo album "async", which makes you forget that you are listening to the soundtrack of a movie. Of course, the graceful strings that envelop the air in the main theme "King's March Strings Version" is Sakamoto's quintessence, and the orchestration and rhythm in the battle scene reminds me of Stravinsky's. The music used in the battle scenes also skillfully incorporates elements of traditional film music, such as orchestration and rhythms reminiscent of Stravinsky. The "King's March" is performed in various variations, including a string version, but the beauty of the "King's March Spinet Version" is particularly special. The spinet, an ancient instrument of the same family as the harpsichord, produces a delicate sound, but its volume does not last long and quickly fades away. By playing the spinet at a slow tempo, without being bound by beats or verses, a pause is created between the disappearance of one note and the emergence of the next, expressing stretched time and abyssal space. This work, with its wide range of sounds in terms of volume and frequency for each scene, from the low volume world to the high volume world with orchestra and synths, and from ultra-low to ultra-high frequencies, is one of the culmination of Sakamoto's work after "async" and the soundtrack to "The Revenant: The Resurrected". It can be said to be one of Sakamoto's culmination after the soundtrack of "Revenant: The Resurrected" and "async.