Patience! This is something you don't hear very often in competition tracks. I love the courage you have to just let the chords ring. Nice work.
1:12 - the cellos seem a equed a bit on the bright side here. I think they could be more present in the mix, and let them sit in the mid-range a bit more.
1:20 - I'm having a hard time telling if this is low brass or bowed low strings. For the volume level, the timbre is too brassy. If you're using samples that change in timbre with velocity or expression, I'd knock those down quite a bit. If not, try rolling off some of the highs there. The sound feels like it's an epic BRAAAM from a hans zimmer score, but this section is still pretty light.
The brass also seems to bury the piano. I think having the Alberti bass line continue through this section is nice, but perhaps trade the duties to bowed bass/cello or something like that to help stand up against the brass. Piano is not strong enough on its own.
1:45 - I would have liked to see more melodic development here. By this point, we've gotten a few iterations of the main melody and it's going on in our head. Manipulating it would make this really pop. You can try something as simple as inverting the melody (I rarely ever do this 100% faithfully, but it's a good place to start and then push the notes around until they sound good). You could also do a 2nd species countrapuntal melody here which would be simple, but nice. Just something that references the original melody, but changes it slightly so it keeps the piece opening up in different directions.
2:35 - this recapitulation is a really nice moment orchestrationally. The violin performance could use a little work. The notes tend to taper too much at the end, but in a real performance the phrase would build from the beginning straight through to the end. Individual notes do taper here and there, but contextually the entire performance will have a general shape. If you imagine the violinist actually playing this, their bow would move smoothly throughout the section and most of the notes would be slurred.
3:10 - why did you drop the violin down an octave here? You were already moving up, I think it would be a goosebump-inducing moment if you let the melody keep climbing naturally like it was into the upper octaves as you stripped away some of the other instruments.
This is pedantic (and doesn't affect your score) but the melody has more baroque elements than medieval which is a few hundred years off. Either way, it's modernized, but you would see this type of melodic writing more common to 1600's through early 1700's which the use of piano, harpsichord, alberti bass line, and Chaconne reinforce. Think Bach vs Gregorian chant. That said, I don't think most people including those in Hollywood would care much about this distinction, so carry on. More of an interesting factoid than anything.
I think the writing is a bit repetitive, but nice. A little more variation would take this into the next level. Sometimes understated poignant writing works, but the performance really needs to carry the emotional intensity in that case which can be excruciatingly difficult with MIDI instruments. At the end of the day, this is just another challenge for contemporary composers. Either figure out how to manipulate your instruments into creating the performance you need, or adjust the writing to work around that limitation. Expensive virtual instruments can sometimes help as they have more capabilities, but a good composer can figure out alternative solutions.
I'd concentrate on mixing. The instruments tend to get mushed up together and it really flattens the emotional impact. They sit in the same space in the room, and occupy much of the same frequency space. First, I'd start by rolling off any frequencies you don't need in the instruments. You'd be surprised at how much of the lows or highs you can pull off of any given instrument and how little it takes away from the overall performance. Another quick/easy way to start separating instruments is to use the dry/wet mixers on the reverb to push instruments around the space. If you pull the dry back a bit, it pushes instruments further back in the room which helps to separate them. You can reference a seating chart for an orchestra to get a sense of where each person would be sitting. It's pretty easy to start mud mixing when you do this, so a tiny bit goes a long way. Try A/Bing your mix against something that sounds like what you're going for. It's hard to make specific suggestions for your instruments without knowing what you're using, but I've learned a lot of tricks by listening to my tracks alongside something else and trying to replicate that sound.
In general, I like the mood you set up. I'd love to see this in the context of the scene you described with Aidru.