Based on the real Joan of Arc. While key life events align, the film's portrayal (Milla Jovovich) emphasizes psychological trauma (fictional sister's rape/murder) as motivation and depicts visions ambiguously, differing significantly from historical accounts and Joan's own testimony of divine guidance. Her demeanor is portrayed as more erratic and manic than described by contemporaries.

Based on the real Charles VII. Malkovich's portrayal depicts him as older, more cynical, manipulative, and physically capable than the historical Dauphin, who was younger (26 when he met Joan), physically unimpressive, pious, and known for indecisiveness but not overt betrayal depicted.

Based on the real Yolande of Aragon, a powerful political figure. The film depicts her influence and initial support for Joan, which is historically plausible, though her specific characterization and actions are interpreted dramatically.

A completely allegorical/fictional character played by Dustin Hoffman, representing Joan's internal doubts or a modern psychological interpretation of her experiences. This figure does not exist in historical accounts of her imprisonment or trial.

Based on the real Gilles de Rais who fought alongside Joan. The film depicts him as a loyal but perhaps brutal soldier. His later infamous crimes as a serial killer are not part of the film's scope.

Based on the real Jean de Dunois, a key commander who fought with Joan at Orléans and other campaigns. His military role alongside Joan is accurately represented.

This traumatic childhood event is a major fabrication by the filmmakers to provide a psychological, revenge-based motivation for Joan, contrary to her stated divine mission. Her family fled before their village was attacked by Burgundians (not English).

Joan historically claimed to receive divine guidance from saints. The film depicts these visions ambiguously, often violently or confusingly, suggesting psychological disturbance rather than divine inspiration, a modern interpretation not supported by Joan's testimony.

Joan did travel to Chinon and famously identified the Dauphin Charles VII despite attempts to disguise him.

Joan underwent examinations by theologians at Poitiers to verify her claims and orthodoxy before being granted command, as depicted (though details are condensed).

Joan's arrival dramatically boosted morale, and she played a key role in lifting the English siege of Orléans in 1429, a major turning point accurately shown as her first great success.

The film portrays Joan as almost manic and bloodthirsty in battle. Contemporaries described her as courageous and inspirational, carrying her banner, but not engaging in killing; she wept for the dead on both sides. She was wounded by an arrow at Orléans, as shown.

Joan successfully led Charles VII through enemy territory to Reims Cathedral for his official coronation as King of France, a crucial symbolic victory.

Joan participated in an unsuccessful attempt to retake Paris, during which she was wounded again. The film depicts the failure and growing political tensions.

The film suggests Charles actively plotted Joan's capture. Historically, while he failed to ransom or rescue her, there's no evidence he deliberately arranged her capture by the Burgundians at Compiègne.

Joan was captured by Burgundian forces during a skirmish outside Compiègne in 1430 and later sold to the English.

Joan faced a lengthy ecclesiastical trial for heresy dominated by pro-English clergy led by Bishop Pierre Cauchon in Rouen.

The scenes where Joan debates theology and her motivations with Dustin Hoffman's character are entirely fictional, representing internal doubt or a modern psychological lens.

Joan did briefly sign a recantation under duress but quickly renounced it. Resuming male clothing (which English guards may have forced upon her, as the film suggests) was used as proof of her relapse into heresy.

Joan of Arc was found guilty of relapsed heresy and burned at the stake in the marketplace of Rouen on May 30, 1431. The film depicts the event, though omits details like her calling Jesus's name.

The postscript accurately notes Joan was later exonerated (Rehabilitation Trial 1456) and eventually canonized as a saint by the Catholic Church in 1920.

Filmed largely in the Czech Republic and France, the locations and set design effectively evoke the general atmosphere of war-torn, late-medieval France.

The film establishes the backdrop of the ongoing conflict between France and England, the division of France (Armagnac vs. Burgundian factions), and the significance of Orléans.

Depicts impressive medieval castles (like Chinon) and fortifications (like Les Tourelles at Orléans), giving a sense of the period's architecture and siege warfare settings.

Battle scenes are visually striking and brutal but sometimes stylized. The emphasis on graphic violence and certain tactics might prioritize cinematic impact over precise 15th-century battle realism.

Settings like village churches, Reims Cathedral (coronation), and the ecclesiastical court for the trial reflect the pervasive religious context of the era.

Costumes generally reflect the distinctions between peasant attire, noble finery, clerical robes, and military garb appropriate for the early 15th century.

Joan's "white armor" (full plate) is historically plausible (she was gifted armor). Other armor and weapons (swords, axes, bows, cannons - though trebuchets shown are less likely) reflect the period.

The film graphically depicts medieval warfare and cruelty (like the fictional rape/murder). While the era was brutal, the level and style might be exaggerated for modern cinematic effect.