The end of the medieval explained

From beginning to end, “Medieval” challenges its protagonists with a burning question: what is the will of God? Of course, from there, a host of other questions arise to vex Žižka, Katherine (Sophie Lowe), and the rest of the main cast: Is the king’s will the same as God’s? Should we follow one or both? What if our hard-earned will, morality, and humanity put us on the opposite path as king, church, country, and even God? As the film progresses, Žižka and Katherine in particular – who had been betrothed to a tyrannical nobleman, Henry III of Rosenberg (Til Schweiger), until she saw him as such – find themselves in struggle to answer these questions, until the fires of war forge new ideas.

Towards the end of the film, in the period that screenwriting educator Blake Snyder would call the “dark night of the soul”, Katherine has reached her limit in terms of how much she can be used as a political pawn. After about two hours of film that so often debates “the will of God” and “the will of the king”, Katherine finally stands up proudly and confidently declares that from this moment on she is acting according to “my will”. . It’s a huge moment for her character and one that ultimately pushes Žižka to achieve her own enlightenment as well. As Katherine learns to draw strength from within, Žižka learns to finally accept strength from without – after years as a roving mercenary with Han Solo-esque indifference, Žižka begins to fight for his countrymen rather than for money.

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