How Kingdom Come: Deliverance 2 Was Transformed Into a Festival Feature Film

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If you’ve taken a break from gaming this year to step on a unique patch of turf, you might have observed some peculiar happenings at significant international film festivals. It all began in May when a movie based on the virally popular independent Japanese game Exit 8 debuted at the renowned Cannes Film Festival – marking the first time a videogame movie has been showcased there. The film’s director, Genki Kawamura, offers an intriguing reinterpretation of his source material, resonating with both art-house enthusiasts and game enthusiasts. However, live-action adaptations of video games are by no means a novel concept.

This cinematic cut of Kingdom Come: Deliverance 2 is captivating because it’s not a direct film adaptation of the critically acclaimed RPG developed by Warhorse Studios. Instead, it condenses and rearranges Act One of the game into a two-hour linear presentation, combining cutscenes and gameplay in an unusual way. It was quite unusual to see at this month’s Karlovy Vary International Film Festival in the Czech Republic – a fascinating blend of different formats, not originally conceived by Warhorse Studios themselves.

According to KVIFF’s artistic director, Karel Och, everything transpired during the debut of Kingdom Come: Deliverance 2. He shares that the initial connection was made through a mutual acquaintance, and both Warhorse Studios and KVIFF expressed an interest in collaborating at some point. Over the subsequent months, it was thrilling to catch a glimpse of Warhorse’s work, and I believe our counterparts at the pinnacle of the gaming industry felt the same way.

Tobias Stolz-Zwilling, Warhorse’s communications director, agrees. “They aimed to update and invigorate the festival – to present something fresh.” The prominent Eastern European film festival, KVIFF, draws a youthful, daring crowd that sets it apart from similar events. The studio considered the festival’s unusual concept an opportunity to boost video games’ cultural significance in mainstream society. Moreover, many of the game’s cinematics team were already fluent in the festival’s vernacular.

Petr Pekař initially aspired to be a conventional filmmaker after studying film editing and direction in the Czech Republic. However, he discovered his true vocation in video game production due to the limited market size. As Pekař notes, “The Czech Republic has many filmmakers, but the industry is relatively small and somewhat oversaturated.” Instead, there are numerous studios generating cutscenes, which can be thought of as animated movies. Pekar gained hands-on experience crafting cutscenes for Mafia 3 before joining Warhorse Studios. At Warhorse, he initially worked as a cinematic designer on Kingdom Come: Deliverance and later advanced to directing the sequel.

Translating Deliverance 2’s cutscenes onto the big screen provokes comparisons with traditional cinema, a realm quite distinct from their initial intended function. As Pekař explains, “If you’re a player, your primary focus is on playing the game.” The cutscenes, he suggests, are more like an indulgent after-dinner treat – not essential but when they’re well-executed and harmonious, they significantly enhance the gaming experience, the storyline, and overall ambiance.

The opening scene in the cinematic mode kicks off with the game’s initial cutscene, much like settling down for a lengthy YouTube video titled ‘Kingdom Come: Deliverance 2 – All Cutscenes’ (according to Pekař, these are not usually watched in their entirety). The filmmaking style of the team is both assured and recognizable, drawing heavily on classic high fantasy themes. A dramatic castle siege scene strongly recalls Peter Jackson’s Lord of the Rings trilogy, a significant inspiration for Warhorse Studios’ visual aesthetic. This cinematic sequence serves as an evocative reminder of how video games have relied on imitation since their inception, aiming to fulfill our desire to experience the fantasy depicted whenever we witness something captivating on screen. However, it’s important to note that this Cinematic Cut doesn’t deliver on the central fantasy like its original counterpart does – because it’s not interactive.

I think this is an experiment that somebody can pick up and do better than we did.

As the cutscene fades out, something intriguing unfolds. I find myself shoulder-to-shoulder with Father Godwin, clutching a crossbow. The screen shifts perspective, immersing me in this first-person world. But let me clarify, this isn’t just another Let’s Play video. The editing is dynamic and cinematic, redefining the rules of first-person gameplay.

Step by step, Father Godwin ascends the stairs – cut – now he’s halfway up, pausing for a breath – cut – and suddenly, he’s standing atop the ramparts, his sword piercing an enemy. The adrenaline rush is indescribable. “Mostly captured by Vítek Mičke, our marketing expert,” Pekař explains, “He also crafted the trailers. He has a knack for timing and aesthetics, knows how to maneuver the camera with precision to set the scene and create the perfect atmosphere – making it look cool.

In this piece, there are a few moments where the flow seems a bit unnatural or choppy, like when a scene abruptly switches to a ladder being lowered, giving off a vibe similar to ending a gameplay level and starting a cutscene. This transition reminds us of the source, an objective-driven game. However, these instances are rare and they actually highlight how impressively Warhorse has managed their debut effort overall.

As a gamer, I believe this project could be taken to new heights by someone else or even ourselves in the future with our upcoming projects. We can definitely learn from our past mistakes to make it better next time. It was fascinating to see it on the big screen, and I was surprised at how well it held up. Although it’s not a revolutionary cinematic medium, I think it has potential for festivals, conventions, and fan gatherings. I believe other creators will pick up on this format as well.

The KVIFF team is just as thrilled about the outcome. As Och puts it, “Storytelling comes in various forms.” We’re pleased to have co-authored a fresh chapter in the festival’s recent past with individuals we hold in high regard, who share our same objective.

Pekař suggests that the chosen format serves as a bridge connecting the worlds of gaming and film. By doing so, it encourages gamers to value aesthetics, cinematography, color schemes, and atmospheres in games, much like movie enthusiasts can grasp the unique roles these elements play when interactivity is introduced. The fusion of these mediums often gives rise to bizarre yet fascinating concepts. Crossing these boundaries helps us better comprehend each other’s creative realms.

You can enjoy the Kingdom Come: Deliverance 2 Cinematic Cut on the KVIFF.TV website for a moderate price of around $6 until July 31, 2027.

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2025-07-30 15:27