Viking
Kievan Rus, late 10th century. After the death of his father, Svyatoslav I, ruler of Kievan Rus, the young Viking prince Vladimir of Novgorod (Danila Kozlovskiy) is forced into exile across the frozen sea to escape his treacherous half-brother Yaropolk (Aleksandr Ustyugov), who has murdered his other brother Oleg (Kirill Pletnyov) and conquered the Viking territory of Kievan Rus. The old warrior Sveneld (Maksim Sukhanov) convinces Vladimir to assemble a Varangian armada, hoping to reconquer Novgorod from Yaropolk and ultimately face the mighty Byzantine forces.
The film earned $29.2M at the global box office.
Plot Structure
Story beats plotted across runtime
Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
Viking (2016) showcases deliberately positioned dramatic framework, characteristic of Andrey Kravchuk's storytelling approach. This structural analysis examines how the film's 15-point plot structure maps to proven narrative frameworks across 2 hours and 13 minutes. With an Arcplot score of 7.4, the film balances conventional beats with creative variation.
Structural Analysis
The Status Quo at 2 minutes (2% through the runtime) establishes Young Vladimir lives as a bastard prince in Novgorod, training as a warrior but outside the main line of succession. He is strong but unproven, watching his brothers hold power.. Structural examination shows that this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 16 minutes when Vladimir's brother Yaropolk murders their brother Oleg and seizes power in Kiev, becoming Grand Prince. This act of fratricide disrupts the political order and puts Vladimir in mortal danger.. At 12% through the film, this Disruption aligns precisely with traditional story structure. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
The First Threshold at 32 minutes marks the transition into Act II, occurring at 24% of the runtime. This indicates the protagonist's commitment to Vladimir makes the active choice to raise an army and march on Kiev to claim the throne. He crosses from exile into warrior-prince, committing to the path of conquest and revenge., moving from reaction to action.
At 65 minutes, the Midpoint arrives at 49% of the runtime—precisely centered, creating perfect narrative symmetry. Significantly, this crucial beat False victory: Vladimir conquers Kiev and defeats Yaropolk, claiming the throne as Grand Prince. He has achieved his external goal, but the stakes raise as he now must rule a fractured kingdom and face the question of faith that will define his legacy., fundamentally raising what's at risk. The emotional intensity shifts, dividing the narrative into clear before-and-after phases.
The Collapse moment at 98 minutes (73% through) represents the emotional nadir. Here, All is lost: A trusted advisor or close companion is killed, or Vladimir faces a devastating betrayal. The old ways of blood and conquest have led only to more death. The "whiff of death" - literal or symbolic loss that forces Vladimir to confront the emptiness of power without purpose., demonstrates the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 106 minutes initiates the final act resolution at 80% of the runtime. Vladimir chooses Christianity and baptism, synthesizing his warrior strength with a new faith that can unite the Rus kingdoms. This historical turning point represents his transformation from pagan warlord to Christian ruler - the synthesis of old and new., demonstrating the transformation achieved throughout the journey.
Emotional Journey
Viking's emotional architecture traces a deliberate progression across 15 carefully calibrated beats.
Narrative Framework
This structural analysis employs structural analysis methodology used to understand storytelling architecture. By mapping Viking against these established plot points, we can identify how Andrey Kravchuk utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish Viking within the action genre.
Comparative Analysis
Additional action films include The Ministry of Ungentlemanly Warfare, The Bad Guys and Lake Placid.
Plot Points by Act
Act I
SetupStatus Quo
Young Vladimir lives as a bastard prince in Novgorod, training as a warrior but outside the main line of succession. He is strong but unproven, watching his brothers hold power.
Theme
A mentor figure speaks about the nature of power and faith: "A true ruler must choose between the old gods and the new, between blood and belief." The thematic question of faith versus tradition is introduced.
Worldbuilding
Establishing the world of 10th century Rus: the political tensions between Vladimir and his brothers, the pagan traditions, the Viking culture, the Byzantine influence, and the fractured kingdoms. Vladimir's relationship with his warrior companions is shown.
Disruption
Vladimir's brother Yaropolk murders their brother Oleg and seizes power in Kiev, becoming Grand Prince. This act of fratricide disrupts the political order and puts Vladimir in mortal danger.
Resistance
Vladimir debates whether to flee or fight. His advisors and warriors counsel him on the dangerous path ahead. He must decide between exile and claiming his birthright, learning about the political landscape and gathering allies.
Act II
ConfrontationFirst Threshold
Vladimir makes the active choice to raise an army and march on Kiev to claim the throne. He crosses from exile into warrior-prince, committing to the path of conquest and revenge.
Mirror World
Vladimir encounters Rogneda, a princess he will claim as wife. She represents the new world of political marriage and the tension between the old pagan ways and emerging Christian influence. Their relationship will carry the theme of transformation.
Premise
The "fun and games" of Viking warfare: Vladimir builds his army, engages in brutal battles, conquers territories, and demonstrates his prowess as a warrior-leader. The audience gets the epic battle sequences and Viking spectacle they came for.
Midpoint
False victory: Vladimir conquers Kiev and defeats Yaropolk, claiming the throne as Grand Prince. He has achieved his external goal, but the stakes raise as he now must rule a fractured kingdom and face the question of faith that will define his legacy.
Opposition
Ruling proves harder than conquering. Internal opposition grows, the pagan priesthood resists change, Byzantine political pressure mounts, and Vladimir's own violent past haunts him. His relationships deteriorate as the cost of power becomes clear.
Collapse
All is lost: A trusted advisor or close companion is killed, or Vladimir faces a devastating betrayal. The old ways of blood and conquest have led only to more death. The "whiff of death" - literal or symbolic loss that forces Vladimir to confront the emptiness of power without purpose.
Crisis
Vladimir's dark night of the soul. He contemplates the cycle of violence, the weight of his choices, and the meaning of true leadership. He processes the loss and recognizes that strength alone cannot unite his kingdom.
Act III
ResolutionSecond Threshold
Vladimir chooses Christianity and baptism, synthesizing his warrior strength with a new faith that can unite the Rus kingdoms. This historical turning point represents his transformation from pagan warlord to Christian ruler - the synthesis of old and new.
Synthesis
The finale: Vladimir implements Christianity across Rus, faces down final opposition, and establishes his kingdom on new foundations. The baptism of Rus is depicted, showing the massive cultural transformation he initiates.
Transformation
Final image: Vladimir stands as Saint Vladimir, transformed from brutal warrior to spiritual leader. Where the opening showed a bastard outsider, the closing shows a unified ruler who changed the course of history through faith rather than just conquest.