A 14th century Crusader returns with his comrade to a homeland devastated by the Black Plague. The Church commands the two knights to transport a witch to a remote abbey, where monks will perform a ritual in hopes of ending the pestilence.
A 14th century Crusader returns with his comrade to a homeland devastated by the Black Plague. The Church commands the two knights to transport a witch to a remote abbey, where monks will perform a ritual in hopes of ending the pestilence.
The film leans left by prominently featuring themes of questioning religious authority, deserting an unjust holy war, and critiquing the persecution of an innocent individual driven by fear and superstition, aligning with progressive values despite its ultimate resolution involving a supernatural battle.
The movie employs traditional casting, featuring a predominantly white cast consistent with its 14th-century European setting, without intentional race or gender swaps. Its narrative focuses on the protagonists' journey within a historical context, without explicitly critiquing or negatively framing traditional identities or incorporating explicit DEI themes.
The film portrays the institutional Church as corrupt and hypocritical, responsible for brutal Crusades and misguided witch hunts driven by fear and superstition. The narrative critiques its abuses of power and the suffering it inflicts, with protagonists becoming disillusioned by its actions.
Season of the Witch does not feature any identifiable LGBTQ+ characters or themes within its medieval fantasy-horror plot. The film's focus is entirely on its core narrative elements, resulting in an N/A rating for LGBTQ+ portrayal.
The film features Anna, a young woman accused of witchcraft. While she is central to the plot and eventually revealed to be possessed by a powerful demon, she does not engage in direct physical combat. Any actions or 'victories' attributed to her are through the demon's supernatural powers, not her own physical prowess.
The film features original characters created for its narrative, not adaptations of pre-existing figures with established genders. Therefore, no character's gender was altered from a prior canonical or historical depiction.
This film is an original story with no pre-existing source material, historical figures, or legacy characters. All characters were created for this specific movie, thus there is no prior canonical or historical racial baseline to establish a race swap.
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