{"id":10325,"date":"2025-07-30T11:30:00","date_gmt":"2025-07-30T11:30:00","guid":{"rendered":"http:\/\/nextlevelnews.co.uk\/blog\/2025\/07\/30\/how-kingdom-come-deliverance-2-was-transformed-into-a-festival-feature-film\/"},"modified":"2025-07-30T11:30:00","modified_gmt":"2025-07-30T11:30:00","slug":"how-kingdom-come-deliverance-2-was-transformed-into-a-festival-feature-film","status":"publish","type":"post","link":"https:\/\/nextlevelnews.co.uk\/blog\/2025\/07\/30\/how-kingdom-come-deliverance-2-was-transformed-into-a-festival-feature-film\/","title":{"rendered":"How Kingdom Come: Deliverance 2 Was Transformed Into a Festival Feature Film"},"content":{"rendered":"
\n
<\/section>\n

If you\u2019ve put down your controller this year to go touch a very particular patch of grass, you might have noticed that something strange is going on at the world\u2019s major film festivals. It started in May, when a film adaptation of virally-successful Japanese indie game Exit 8<\/a> premiered at the prestigious Cannes Film Festival \u2013 the first videogame movie to do so. The film\u2019s director, Genki Kawamura, gives his source material a compelling structural spin, appealing equally to the arthouse crowd and to game fans. But live-action adaptations of video games are, of course, nothing new.<\/p>\n

That\u2019s why Kingdom Come: Deliverance 2<\/a> Cinematic Cut is so interesting. It is not a live-action adaptation of developer Warhorse Studios\u2019 critically-acclaimed RPG. Instead, it is an abridged and reformatted version of Act One of the game itself, presenting a newly-edited blend of the open-world game\u2019s cutscenes and gameplay in a two-hour linear form. It was perhaps the strangest Special Presentation at this month\u2019s Karlovy Vary International Film Festival in the Czech Republic \u2013 a unique cross-format experiment. One that wasn\u2019t Warhorse\u2019s idea. <\/p>\n

\u201cIt all happened at the official launch of Kingdom Come: Deliverance 2,\u201d explains KVIFF artistic director, Karel Och. \u201cThe first contact was made through a mutual friend, and Warhorse and KVIFF made each other understand that they wanted to collaborate at some point. During the following months, it was exciting to have a glimpse of what Warhorse represents \u2013 and I dare to say the same goes for our friends from the top of the gaming business.\u201d <\/p>\n

Warhorse\u2019s communications director, Tobias Stolz-Zwilling, concurs. \u201cThey wanted to make the festival more modern and interesting \u2013 to offer something new\u201d. The largest film festival in Eastern Europe, KVIFF attracts a younger, more adventurous audience than its contemporaries. The studio saw the film festival\u2019s strange idea as a chance to give video games greater cultural relevancy in the broader mainstream. Besides \u2013 much of the game\u2019s cinematics team were already speaking the festival\u2019s language.<\/p>\n

<\/section>\n

Kingdom Come: Deliverance 2\u2019s cinematic director, Petr Peka\u0159, studied film editing and directing with the intention of becoming a traditional filmmaker, but he found his calling in video games. \u201cThere are a lot of filmmakers in the Czech Republic, but the market is not that big, so it’s a bit overcrowded.\u201d says Peka\u0159. \u201cThankfully, there are multiple studios creating cutscenes, which are basically animated movies\u201d. Pekar learned on the job creating cutscenes for Mafia 3<\/a>, then joined Warhorse \u2013 first as a cinematic designer on the original Kingdom Come, then as director on its sequel.<\/p>\n

Bringing Deliverance 2\u2019s cutscenes to the big screen invites comparison with conventional cinema, an arena far from the cinematics\u2019 original purpose. \u201cIf you’re a player, you\u2019re mainly looking forward to playing the game,\u201d says Peka\u0159. \u201cThe cutscenes are more like dessert for the game \u2013 not necessary \u2013 but when it’s good and it clicks, it really helps the game, the story, and the overall feel\u201d. <\/p>\n

The Cinematic Cut opens, naturally, on the game\u2019s first cutscene. As it happens, you can\u2019t help but feel like you\u2019re settling in for a YouTube video titled \u2018Kingdom Come: Deliverance 2 \u2013 All Cutscenes\u2019 (\u201cI don\u2019t think anybody actually watches those in full\u201d Peka\u0159 quips). The team\u2019s cinematic direction is confident, but familiar \u2013 steeped in high fantasy tropes. A fiery siege on the castle is highly reminiscent of Peter Jackson\u2019s The Lord of the Rings trilogy \u2013 a major influence on Warhorse\u2019s stylistic approach. Transported to the cinema screen, the scene serves as a striking reminder of how video games have traded in pastiche since their inception, responding to our desire to live out the fantasy ourselves whenever we see something cool on screen. But, of course, Cinematic Cut doesn\u2019t deliver on this pivotal fantasy like its source material does \u2013 it\u2019s non-playable.<\/p>\n

I think this is an experiment that somebody can pick up and do better than we did.<\/section>\n

When the cutscene footage ends, something curious happens. Father Godwin readies his crossbow and the scene transitions into first-person. But this is no Let\u2019s Play. Smart, quick cuts establish a new, more cinematic editing language for first-person gameplay. Godwin heads towards the stairs \u2013 cut \u2013 now he\u2019s halfway up them \u2013 cut \u2013 now he\u2019s atop the ramparts, plunging his sword into an enemy. It\u2019s remarkably thrilling. \u201c[The gameplay] was mostly recorded by V\u00edtek Mi\u010dke, our marketing specialist,\u201d explains Peka\u0159. \u201cHe also made the trailers, and he’s got a good sense of timing and aesthetics. He knows how to control the camera with the controller to properly set the scene and set the mood \u2013 so it looks cool.\u201d<\/p>\n

A couple of awkward transitions disrupt this otherwise \u2018cinematic\u2019 tempo. A sudden cut to a ladder lowering, for example, has the distinct feel of a gameplay segment ending and a cutscene beginning, and reminds you of the objective-based game that birthed the footage. But these moments are few and far between, and they accentuate how much Warhorse has otherwise succeeded in their first attempt.<\/p>\n

\u201cI think this is an experiment that somebody can pick up and do better than we did \u2013 or maybe we can do it again in the future with our future projects, and learn from our mistakes.\u201d reflects Peka\u0159. \u201cIt\u2019s a really interesting experience to see it on the big screen \u2013 and I was surprised that it held up. It\u2019s odd, but it somewhat works. It\u2019s not some kind of new cinematic media that will sit next to the movies, but for festivals and conventions, for fans \u2013 I think it\u2019s a format that others will be doing as well\u201d.<\/p>\n

The team at KVIFF are equally pleased with the results. \u201cStorytelling has many faces,\u201d says Och. \u201cWe\u2019re proud that a new chapter in the festival\u2019s modern history was written in collaboration with people that we respect a great deal who follow the same goal.\u201d<\/p>\n

\u201cI think this format builds a bridge,\u201d concludes Peka\u0159. \u201cGamers can come to appreciate aesthetics and cinematography, the color palettes and moods in games more, and \u2013 in the same way \u2013 movie fans can understand how movies have different functions when they\u2019re working with interactivity. When these two mediums collaborate, sometimes it creates really strange and cool ideas. When people go out of their bubble to see something different, it helps us to understand each other\u2019s mediums.\u201d<\/p>\n

Kingdom Come: Deliverance 2 Cinematic Cut is available to watch on the KVIFF.TV<\/a> website for a small fee (approx. $6) until July 31, 2027. <\/p>\n

<\/section>\n
<\/section>\n

Blake Simons is a journalist with a taste for the self-reflexive, sentimental and surreal. <\/em><\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"

If you\u2019ve put down your controller this year to go touch a very particular patch of grass, you might have noticed that something strange is going on at the world\u2019s major film festivals. It started in May, when a film adaptation of virally-successful Japanese indie game Exit 8 premiered at the prestigious Cannes Film Festival […]<\/p>\n","protected":false},"author":1,"featured_media":10326,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pagelayer_contact_templates":[],"_pagelayer_content":"","footnotes":""},"categories":[1],"tags":[],"class_list":["post-10325","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"\nHow Kingdom Come: Deliverance 2 Was Transformed Into a Festival Feature Film - Next Level News<\/title>\n<meta name=\"description\" content=\"Stay on top of the gaming world with Next Level News. 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