The Dark Ages Deserve Their Horror Moment: Why 'Between Two Fires' Needs to Hit the Big Screen
There’s something undeniably captivating about the Dark Ages—a time when superstition reigned, and the line between the divine and the demonic was as thin as a candle’s flame. It’s a period ripe for horror, yet strangely underutilized in the genre. That’s why, when I first stumbled upon Christopher Buehlman’s Between Two Fires, I knew it was something special. This isn’t just a horror novel; it’s a masterclass in blending historical grit with supernatural terror. And honestly, I’m baffled it hasn’t been adapted into a film yet.
A Medieval Odyssey That Feels Dangerously Real
Set in 1348 AD, Between Two Fires follows Thomas, a disgraced knight turned brigand, who stumbles upon Delphine, a young girl claiming to see holy visions. What makes this particularly fascinating is how Buehlman uses their journey to Avignon—the seat of the Pope—as a backdrop to explore the intersection of faith, fear, and the unknown. The Black Plague isn’t just a historical event here; it’s a living, breathing horror, amplified by the belief that demons are pulling the strings.
Personally, I think this is where the novel shines brightest. Buehlman doesn’t just tell a story; he immerses you in a world where the supernatural feels as tangible as the mud on Thomas’ boots. It’s a far cry from the sanitized medieval fantasies we often see. This isn’t Game of Thrones with dragons; it’s a raw, visceral portrayal of a time when death was a constant companion, and the devil seemed to lurk in every shadow.
Demons, Plagues, and the Human Condition
What many people don’t realize is how effectively Buehlman uses the plague as a metaphor for the human struggle against the inexplicable. To the peasants of 14th-century France, the plague wasn’t just a disease—it was a curse, a punishment from an angry God. But in Between Two Fires, it’s worse: the plague is the work of demons, waging a war against Heaven. This raises a deeper question: What happens when the horrors we imagine turn out to be real?
The demons in the novel aren’t just your run-of-the-mill monsters. They’re bizarre, ethereal, and often disturbingly creative. Take the eel-like creature lurking in a village river, or the nightmarish sequence in a plague-free castle where the inhabitants shift into monsters. These aren’t just scares; they’re reflections of the era’s deepest fears. If you take a step back and think about it, Buehlman is doing something profound here—he’s using horror to explore the psychological and spiritual turmoil of a time when the world seemed to be ending.
A Hero’s Journey with a Dark Twist
Thomas, our protagonist, is no typical hero. He’s cynical, flawed, and haunted by his past. But what this really suggests is that redemption isn’t just a theme in the novel—it’s the heart of it. Thomas’ journey with Delphine isn’t just about saving the world; it’s about saving himself. This is where the novel draws parallels to dark fantasy classics like Berserk. Both stories explore the cost of survival in a world that seems determined to break you.
One thing that immediately stands out is how Buehlman balances the personal and the epic. Thomas’ backstory, though not as brutal as Guts’ from Berserk, is equally haunting. It’s a reminder that even in a world overrun by demons, the most terrifying monsters are often the ones we carry within ourselves.
Why Hollywood Needs to Take Notice
In my opinion, Between Two Fires is begging for a film adaptation. But not just any adaptation—it needs a director who can capture its grim beauty and existential dread. Robert Eggers, the mastermind behind The Witch, comes to mind. His ability to root horror in historical authenticity would be perfect for Buehlman’s world.
A detail that I find especially interesting is how both The Witch and Between Two Fires use superstition as a lens to explore fear. In The Witch, the Puritans’ belief in witches becomes a terrifying reality. Similarly, Between Two Fires takes the fears of 14th-century France—devils, abandonment by God, the plague—and turns them into a chilling narrative. It’s not just horror for horror’s sake; it’s a commentary on how fear shapes our perception of the world.
The Broader Appeal: Why Fantasy Fans Will Love It
At its core, Between Two Fires is a quest story, not unlike The Lord of the Rings. But what sets it apart is its focus on medieval monster tales. Each demon encounter feels like a standalone horror story, yet they all weave together into a larger tapestry. This is a novel that understands the appeal of dark fantasy—it’s not just about the monsters; it’s about the human spirit’s resilience in the face of them.
From my perspective, this is why Between Two Fires has resonated so deeply with readers. It’s not just a horror novel or a historical fantasy; it’s a meditation on faith, fear, and the lengths we’ll go to find meaning in a chaotic world. And in a post-pandemic era, where the specter of plague still lingers in our collective memory, its themes feel eerily relevant.
Final Thoughts: A Story That Demands to Be Told
As someone who’s spent years dissecting horror and fantasy, I can confidently say that Between Two Fires is a modern classic. It’s a novel that doesn’t just entertain—it challenges, provokes, and haunts. And yet, it’s also a story of hope, of finding light in the darkest of times.
Personally, I think its absence from the big screen is a missed opportunity. Hollywood has a chance to bring this rich, terrifying world to life, and I, for one, would be first in line to see it. Because in the end, Between Two Fires isn’t just a story about demons and plagues—it’s a story about what it means to be human in a world that often feels like hell. And that’s a story worth telling.
