The soundtrack for Patience (After Sebald) (2012), a film by Grant Gee, was composed and produced by English musician Leyland James Kirby under his ambient music project the Caretaker.

[11] As the official press release for the film describes, the soundtrack uses parts of the 78-rpm recording and turns them into a "dust-caked haze of plangent keys, strangely resolved loops and de-pitched vocals which recede from view as eerily as they appear.

"[9] The samples are repeated,[4] stretched,[5][4] and detuned[5] to the point where, in the words of AllMusic journalist Heather Phares, "they're nothing but ghostly shadows of themselves" and "literal rings of melancholia.

"[14] Throughout the soundtrack, the tone of the hiss textures range from calm to harsh to the point where it "separat[es] the listener from the melody" on "Approaching the Outer Limits of Our Solar System," Phares analyzed.

[14] “No one knows what shadowy memories haunt them to this day” and the album closer "Now the Night is Over and the Dawn Is About to Break" are tracks that stretch out single syllables from male vocal snippets and turns them into what Richardson described as "tense, uneasy drones.

"[14] Richardson analyzed Schubert's works as representing "frozen world[s]" and wrote that "Kirby responds in kind, crafting [a film soundtrack] that hints at the season's chill with characteristic complexity and ambiguity.

"[14] In the music for Patience (After Sebald), there is more tension in what Will Ryan of Beats per Minute described as the "space between the origins of Kirby’s source material and the place – nearly three-quarters of a century later – we’re now hearing it.

"[17] Self-titled magazine called the music "a magical instance of mood manipulation," which was impressive given the type of sounds Kirby worked with that would've otherwise resulted in a "monotonous listen.

[5] He opined that the short lengths of most of the soundtrack's sample loops led it to be sometimes "actively grating" without watching the film, but the music "peak[ed] more than it dip[ped]" due to the variety of ways that the snippets are manipulated.

[5] Ryan opined that while most of the soundtrack was "truly great," it was also a "little slight" in a few parts where it "sidle[d] around like lost Alzheimer’s patients [...] without really capturing the inherent tragedy there" due to the loops feeling "plodding," "stilted," and not "interesting.