Mick the Merciless wrote:

"This hard-hitting look at the life of peacekeeping soldiers in Bosnia
required a music score that would stay on the right side of melancholy.
Having taken pains to elicit convincing results from his actors, director
Peter Kosminsky (with whom Debbie Wiseman had previously worked on The Dying
Of The Light) knew that semi-tragic would be the correct tone.

And once again Wiseman has pulled a rabbit out of one of her many hats. By
layering ethnic flutes and voices into her score, she adds an otherworldly
distance to the music. It relates to the action in its desired sad tone,
while avoiding the emotive familiarity of the strings in, for example, her
score for Wilde. Her themes are made the more memorable for being presented
in these unpredictable formats: A nasal whine will stay with you longer than
(an admittedly lovely) piano solo like "Twelve Hours". There's also a
favourably miked percussive set that ripples under many of the cues and adds
to the geographical dis-association. This is how all TV music should be in
conception and result."

Doesn't sound much like the film I saw.