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 of superstition, plague, and constant peril, it’s a setting ripe for horror. Yet, it’s surprising how rarely medieval fantasy and horror intersect. That’s why Christopher Buehlman’s Between Two Fires feels like such a revelation. Set in 1348 AD, this novel isn’t just a tale of survival in a plague-ridden world—it’s a masterclass in blending historical dread with supernatural terror. And, in my opinion, it’s begging for a movie adaptation.
What makes this particularly fascinating is how Buehlman uses the Black Death as more than just a backdrop. To the uneducated peasants of 14th-century France, the plague wasn’t just a biological disaster—it was a curse, a punishment from an angry God. Buehlman takes this fear and amplifies it, making the plague the literal work of demons. This isn’t just a horror story; it’s a psychological exploration of how fear and ignorance can shape reality. If you take a step back and think about it, this is exactly the kind of narrative that resonates today, where misinformation and panic often blur the lines between the real and the imagined.
The protagonist, Thomas, a disgraced knight turned brigand, is a character I find especially compelling. His journey with Delphine, a girl who claims to see holy visions, is both a quest for redemption and a descent into a nightmare. What many people don’t realize is how rare it is to see a medieval antihero like Thomas in horror. He’s no saint, but he’s not a monster either—he’s human, flawed, and relatable. His backstory, while not as gruesome as, say, Guts from Berserk, is haunting in its own right. It’s a reminder that the demons we face aren’t always supernatural; sometimes they’re the choices we’ve made.
One thing that immediately stands out is the novel’s ability to balance historical accuracy with fantastical elements. Buehlman’s prose is vivid, painting a world that feels both alien and familiar. The demons Thomas and Delphine encounter are diverse and terrifying, each one a reflection of the fears of the time. From an eel-like monster in a village river to the ethereal horrors near Avignon, these creatures aren’t just scary—they’re symbolic. What this really suggests is that the true horror of the Dark Ages wasn’t just the plague or the violence, but the uncertainty and despair that came with them.
Personally, I think the chapter ‘Of the Ones Who Knock by Night’ is a standout moment. The image of holy statues coming to life as demonic entities is both chilling and ingenious. It’s a perfect example of how Buehlman uses religious iconography to heighten the horror. This raises a deeper question: What happens when the very symbols meant to protect us become instruments of terror? It’s a theme that feels eerily relevant in a world where faith and fear often collide.
If Hollywood is looking for its next great horror adaptation, Between Two Fires should be at the top of the list. And if I had to pick a director, it would undoubtedly be Robert Eggers. His films, like The Witch, excel at capturing the paranoia and superstition of bygone eras. Eggers understands that the scariest stories are the ones rooted in the fears of their time. Between Two Fires is cut from the same cloth, taking the anxieties of 14th-century France and turning them into something universally terrifying.
What makes this novel truly special, though, is its ability to transcend its genre. It’s not just a horror story or a medieval fantasy—it’s a meditation on faith, redemption, and the human condition. In a world where we’re constantly grappling with our own plagues, both literal and metaphorical, Between Two Fires feels like a mirror held up to our collective psyche. It’s a reminder that, no matter how far we’ve come, the demons of the past are never truly gone.
So, here’s my final thought: Between Two Fires isn’t just a book that deserves a movie adaptation—it’s a story that needs to be told on the biggest screen possible. It’s a testament to the power of horror to explore the darkest corners of human history and imagination. And, in my opinion, that’s exactly what makes it one of the best horror novels in recent memory.
