What themes from the Nibelung saga are explored in the series "War of the Kingdoms"? What makes this adaptation different from previous interpretations? How does the innovative production model used by Constantin affect the storytelling of both the film and the series? What challenges does "War of the Kingdoms" face in the current streaming market? How did "Hagen," the feature film, perform at the box office, and what implications could that have for the series?
"War of the Kingdoms" is, by any measure, a big swing.
The epic German fantasy series, which Fremantle presented to buyers at last month’s London Screenings and unspools at Series Mania‘s inaugural buyers upfront event on Monday, is one of the most expensive and ambitious projects to come out of Europe.
Adapted from Wolfgang Hohlbein’s 1986 novel Hagen von Tronje by Cyrill Boss and Philipp Stennert, the duo behind Sky Germany’s hit mystery series Pagan Peak, it is a retelling of the German Nibelung saga, a tale of dragons, dwarves and magic credited as a major inspiration for J.R.R. Tolkien’s The Lord of the Rings, and, by extension, Game of Thrones.
For a European, non-English-language project, it is also huge. The budget, according to producers, was north of $50 million.
To make the numbers work, Constantin created a new model for the production, shooting a feature film version of the story, titled Hagen, and the six-part TV series simultaneously. The film version, Hagen, hit German theaters last year. The series will premiere on German streamer RTL+ later in 2025.
Speaking to The Hollywood Reporter back in 2022, Constantin’s Martin Moszkowicz, an executive producer on the project, said the bespoke financial model made “economic sense, but also creative sense,” by allowing the directors to tell two separate versions of the same story. Unlike Constantin’s previous film-TV hybrids — the German group produced two-part miniseries versions of Oscar-nominated features Downfall and The Baader Meinhof Complex alongside the movie edits — Hagen/War of the Kingdoms was conceived as two separate stories. “The narrative perspective in the series [is] very different from that of the cinema version,” Moszkowicz said. “They are being produced together but they are independent products.”
Unlike previous adaptations of the Nibelungenlied — from Fritz Lang’s 1924 two-part film classic to a 2004 TV movie version starring Kristanna Loken and a young Robert Pattinson — Hagen and War of the Kingdoms take a fresh approach by turning Hagen, the saga’s traditional villain, into the protagonist, and Siegfried, the blond, dragon-slaying hero in most versions of the story, into a dangerously charismatic populist who threatens the stability of the kingdom. Dutch actor Gijs Naber (Blackbook, The Story of My Wife) plays Hagen, Jannis Niewöhner (Berlin Station) is Siegfried. Lilja van der Zwaag, Rosalinde Mynster and Dominic Marcus Singer co-star.
Constantin’s innovative film-TV hybrid is being tested in real time. Hagen, the feature film, floundered in theaters, pulling in fewer than 178,000 viewers in Germany, representing around a box office take of around $2 million, a disappointing showing for a film designed to be epic.
War of the Kingdoms’ bow at Series Mania represents an opportunity to grasp streaming victory from the jaws of theatrical defeat.
Fremantle had considerable success with the Constantin/Amazon Studios’ We Children From Bahnhof Zoo (2021), a retelling of the drug addiction biography Christine F., famous for Uli Edel’s 1981 film adaptation. But War of the Kingdoms, conceived during the global streaming boom, hits the market as buyers are pulling back from ambitious (and expensive) series in favor of more dependable, lower-cost procedurals and action thrillers.
Ahead of Series Mania, Fremantle said it had no deals to unveil for the show. Constantin’s high-stakes bet could be a make-or-break test of the global appeal of premium European fantasy.
Can ‘War of the Kingdoms’ Transform a Film Flop into Streaming Gold?
In an age where cinematic trends shift as rapidly as a streaming service updates its library, the journey from film flop to streaming success is becoming increasingly relevant in discussions about media consumption and distribution. Next up in the spotlight is “War of the Kingdoms,” a film that met critical disapproval and underwhelmed at the box office, yet holds the potential for a transformative second life on streaming platforms. But how exactly does this transition occur, and can this film’s narrative succeed on the small screen?
Historically, many movies that bombed in theaters found unexpected success in the streaming realm. The shifting paradigms of entertainment consumption create a unique ecosystem that allows films to redefine themselves outside the traditional confines of box office performance. The once-inflexible rules—such as requiring a solid opening weekend or favorable critical reviews—are increasingly irrelevant when evaluating a film’s long-term viability in a streaming context.
“War of the Kingdoms” is a classic example. Initially marketed as an epic fantasy saga filled with magic, conflict, and political intrigue, it garnered expectations that its production team could not meet. Critics panned its script, acting, and visuals, while audiences voted with their wallets by rejecting it in theaters. Yet, several factors could conspire to elevate it to streaming success.
Cult Followings and Niche Markets
When a film fails to connect with mainstream audiences, it often finds a second chance by cultivating a cult following. The nature of online communities allows passionate fans to rally around a film that resonates with their tastes, and the accessibility of streaming platforms further enables this rediscovery. Reddit threads, social media influencers, and online fan groups could catalyze a renaissance for “War of the Kingdoms.” In particular, platforms like TikTok or Instagram allow for virality to take root, wherein clips of the film, along with fan edits or memes, can exponentially grow interest in the project.
Algorithmic Power of Streaming Services
Success on streaming platforms is often driven by algorithms that recommend content based on viewing habits. If “War of the Kingdoms” once again captures a niche demographic—be it fantasy enthusiasts, action aficionados, or viewers interested in niche humor—the streaming service’s algorithms could propel it into recommended watchlists across their platforms. In an ecosystem where content is king and attention spans are fleeting, the film could be positioned as an underdog worthy of attention, inviting viewers who might enjoy its unique quirks or themes.
The Rise of Thematic Programming
Moreover, many streaming services engage in thematic programming, curating content that fits into specific categories, such as “Fantasy Adventures” or “Epic Battles.” If “War of the Kingdoms” finds itself categorized alongside more successful genre-bending films, it could attract viewers who are drawn to those themes. They may discover the film through curated collections, and the experience might spawn new discussions about its merits or flaws—reinvigorating public discourse around a previously dismissed title.
Re-edits and Director’s Cuts
The option to release a new edit of a film—a director’s cut, perhaps—could alter “War of the Kingdoms” perception as well. By addressing the criticisms levelled at the original version, the filmmakers could re-examine narrative structures or character development arcs, potentially improving viewer reception. Many films that struggled initially have become beloved classics through strategic re-editing. This approach not only accommodates stakeholder investment but also reinvigorates the storyline in a way that resonates with a fresh audience.
Engagement with Stars and Creatives
Additionally, the engagement of the film’s stars and creatives can stimulate renewed interest. As actors leverage their social media clout, even a minor push can escalate a project’s visibility. Singers, writers, and directors embracing retrospective looks at their past projects can generate buzz and create a dialogue about the work. A deep-dive retrospective or a documentary showcasing the making of the film might also harness the human interest factor, offering fans a behind-the-scenes look they didn’t know they wanted.
Luck and Timing
Lastly, timing cannot be overlooked. Trends in the streaming industry shift constantly, and narratives about resilience or unexpected triumph can resonate deeply with audiences when timed correctly. Perhaps it’s a moment where an epic fantasy series captivates the mainstream, or a beloved actor emerges in other high-profile projects. Film flops often become hits when the cultural climate aligns with their unique offerings.
In conclusion, while the prospects for “War of the Kingdoms” transitioning from a film flop to streaming gold may seem tenuous, the mechanisms within the streaming industry make it increasingly plausible. Cult followings, algorithmic turns, thematic programming, and enhanced engagement can all congeal to transform even the most overlooked projects into must-see viewing. As viewers continue to embrace varied content, the potential for resurgence remains present, rendering every film a candidate for redemption on the streaming landscape. In the unpredictable world of entertainment, this second act could be just around the corner.
The War of the Kingdoms, while initially struggling at the box office, presents a fascinating case study in the potential for re-evaluation and revival through streaming platforms. Several factors contribute to how a film that underperformed in theaters can find new life in the digital realm.
First, streaming platforms often provide a second chance for films by reaching broader audiences who might have missed them during their theatrical release. The convenience of on-demand viewing allows audiences to discover titles at their own pace, leading to expanded viewer bases over time. Additionally, algorithms that recommend content based on user preferences can elevate a film’s visibility, connecting it with niche audiences that resonate with its themes or genre.
Furthermore, the engagement generated through streaming—such as social media discussions, fan art, and user-generated content—can create a sense of community around a film, fostering a dedicated following that may not have been evident during its initial release. The power of word-of-mouth in the age of streaming should not be underestimated, as viewers often rely on recommendations from friends, family, and online communities.
Moreover, if the film had notable elements, such as a strong cast or compelling visuals, these can become talking points that attract audiences’ interest. Elements of the production, like behind-the-scenes features or director’s commentaries, can enrich the viewing experience, providing additional value that was absent during its theatrical run.
Finally, marketing strategies employed by streaming services can reframe a film’s narrative. A carefully crafted promotional push, featuring trailers that highlight the best aspects of the film or partnerships with popular influencers, can shift public perception and encourage reluctant viewers to give it a chance.
In conclusion, while the War of the Kingdoms may not have captured audiences in theaters, its potential for transformation in the streaming landscape is significant. Through strategic audience engagement, content recommendations, and the inherent flexibility of streaming platforms, a film that once struggled might just find its second wind, proving that the journey from box office disappointment to streaming success is indeed possible.