7 / 10
Black Death is a small British medieval horror film that wants to be a serious meditation on faith and plague and mostly succeeds. Christopher Smith directed it. Sean Bean plays Ulric, a knight commissioned by the church to investigate a village in the marshes that’s somehow remained untouched by the plague. Eddie Redmayne plays Osmund, a young monk who joins the expedition because he’s a personal reason to head into the wilderness. Carice van Houten plays Langiva, the woman who effectively runs the immune village.
Tim McInnerny, John Lynch, and Andy Nyman fill out the band of soldiers.
The premise is good. The plague is killing England in 1348. The village is supposedly free of it. The church suspects witchcraft. They send a knight, a monk, and a squad of veterans to find out. What happens next isn’t what the audience expects.
The Setup
The first half of the film is a road movie. The squad rides through plague-ruined countryside. They encounter villages where the dead lie unburied. They burn a young woman accused of witchcraft. The script doesn’t let the audience comfortably identify with the protagonists. These aren’t enlightened modern characters in medieval costume. They’re medieval men with medieval beliefs, and the film commits to that.
The cinematography by Sebastian Edschmid is muddy in a way that feels right. England in 1348 wasn’t picturesque. The film treats the countryside as a hostile environment that the characters are barely surviving even before they reach the marsh village.
For Writers
Period-accurate belief systems are uncomfortable for modern audiences and often softened by writers who want their protagonists to be sympathetic. Black Death refuses to soften. Ulric believes God has sent the plague. He believes witches are real. He believes burning a suspected witch is the correct response to a plague-stricken village. The script doesn’t endorse him. It doesn’t let him off the hook. It also doesn’t give him modern doubts. He’s who he would have been.
The lesson is that historical protagonists don’t need to be modern. They need to be coherent within their own time.
The Village
When they reach the village, the script earns its credit. The village is calm, well-fed, plague-free. Langiva is hospitable. Her people are happy. The squad stays a night. They eat well. They’re welcomed. The film signals that something is wrong without showing the audience what’s wrong, and the signaling is well-paced.
The reveal, when it comes, is that the village isn’t Christian. Langiva is a necromancer who has convinced her people that she brought a young man back from the dead. The plague hasn’t visited because the marsh is geographically isolated, not because of divine protection. Langiva uses the apparent miracle to hold power. She’s not the witch the church suspected. She’s something more interesting and more cynical.
For Writers
A villain who has done something the audience finds ethically defensible is harder to defeat. Langiva has lied to her village to protect them from a Christianity that’s burned women like her at the stake. The script doesn’t absolve her. It also doesn’t pretend her position is unreasonable. The lesson is that morally complex antagonists make for harder stories because the protagonist’s victory has to mean something more complicated than “good defeats evil.” Earn the complication and the third act won’t feel automatic.
The Ending
The third act is where the film loses some viewers and gains others. Osmund’s lover, who he came to find, turns out to be a captive in the village. Langiva offers to bring her back from the dead in the same way she brought back the young man, but Osmund has to renounce God to do it. He renounces. The lover dies anyway. Osmund spends the rest of his life as a hunter of witches and pagans, taking out his grief on women across the English countryside.
The framing device that opens the film is his confession, decades later, as an old man.
This is bleak. The script doesn’t give Osmund redemption. He becomes the villain. The witch hunts of later centuries are explicitly tied back to one young monk’s specific grief. The film argues that history’s worst people were often broken in particular moments by particular griefs, and that nothing was inevitable.
For Writers
A protagonist becoming a villain by the end is a structurally difficult choice. Black Death earns it because the script tracks Osmund’s grief and disillusion step by step. He doesn’t turn evil because the plot needs him to. He turns because every choice the world gives him is bad and he chooses the worst one. The lesson is that character corruption needs to be earned across the runtime. A clean protagonist who suddenly turns dark at the end reads as a twist. A protagonist whose corruption has been visible all along reads as tragedy.
Craft Note
Christopher Smith directed. Dario Poloni wrote. Sean Bean as Ulric. Eddie Redmayne as Osmund. Carice van Houten as Langiva. Tim McInnerny, John Lynch, and Andy Nyman in the supporting squad. David Warner as the abbot. Filmed in Germany. Set in England, 1348. Released June 2010 in the United Kingdom. Modest theatrical release, stronger reputation through home video and streaming.
Is Black Death worth watching?
7/10. A small, dark, well-made film that does more interesting work than its budget suggests. Sean Bean dies in it, as he does in almost everything. Eddie Redmayne’s later career almost certainly traces back to this performance. Watch it if you want medieval horror played seriously.
Frequently Asked Questions
This film appears on one of my film lists