what the hell did i just watch

Kuso (2017)

Posted on March 15, 2024March 18, 2024 by HorrorGhouls

– I LOVED this earthquake! It was the best one I’ve ever seen. All my enemies are DEAD! HAHAHAAA…!

And the earthquake we’re talking about is the one that took place in Los Angeles in 1994. One of the survivors from that brutal event was the eleven-year old Steve Ellison, aka Flying Lotus. 23 years later he would release his first feature film which took a lot of inspiration from the trauma of being an earthquake survivor as a child, and his overall fear of skin diseases and probably a laundry list of other phobias that followed. He also wanted to show how ugly people could be. Show their ugly asses, as he said. And ‘boy, he sure fucking did. This is the type of film that people like John Waters and Harmony Korine would gladly show on their first dates. Take that as a warning, if you will.

So, what’s Kuso really about? What’s the plot here? Uhm… yeah, good question. We’re in a trippy and surreal post-apocalyptic world where people have gone completely batshit insane while having their faces infested with big, nasty zits. The world of Mad Max is a walk in Disneyland in comparison. Here they don’t eat dog food straight from the cans but rather things such as a solid menu of stomach-turning “food” that includes worms and…bodily waste. Scat porn, several viewers say, and that’s not so far from it. This is juicy body horror to the extreme, disgusting and revolting, and if you have some certain boundaries when it comes to such, take also this as a warning. At the same time, it’s all done with a pitch-black sense of humor, so it’s not to be taken seriously. Still, there are moments here that even got a little too much for me, and my melted brain felt the after-effects while I slept through the following night.

But what is it really about? We follow a group of people who deal with their separate meaningless lives in their own post-apocalyptic environment. The film works more or less like an anthology with four vignettes which we bounce back and forth from: Royal, Mr. Quiggle, Smear and Sock. In between the segments we have some insane acid-trip scenes that even Terry Gilliam could be jealous of. It’s all dream logic and if you could livestream someone’s deepest cocaine-filled fever dream on a monitor screen, I wouldn’t be too surprised if this was the result. I don’t see much point in even trying to break down the segments. I would also lose the little I have left of my own sanity if I did. It’s just pure, perverted, unfiltered, experimental art-house madness where you can never, ever guess what’s about to happen next. Very graphic and visual, filled with details and even more unpredictable what-the-fucks you can imagine, and as far from mainstream audience-friendly as it can get. An overall unique experience for the senses that you would never watch with your mom and dad. And just to quote the director himself: This is definitely a movie for a certain kind of person.

Kuso was first distributed by Shudder and is also available on a DVD/Blu-ray combo on Amazon. The film is here reviewed from a very rare DVD edition from Sweden, just to point out.

Director: Flying Lotus
Writers: David Firth, Flying Lotus
Country & year: US, 2017
Actors: Hannibal Buress, George Clinton, David Firth, Arden Banks, Byron Bowers, Shane Carpenter, Angel Deradoorian, Regan Farquhar, Pretty Ricki Fontaine, Zack Fox, Tim Heidecker, Bob Heslip, Anders Holm
IMDb: https://www.imdb.com/title/tt6131712/

The Amazing Bulk (2012)

Posted on March 12, 2024March 12, 2024 by HorrorGhouls

By looking at the poster, you’d expect this to be one of the numerous mockbusters from The Asylum. But The Amazing Bulk is so much, much worse and not something you can fully be prepared for witnessing, even with your own eyes. Imagine if Sin City was written by Tommy Wiseau and directed by Neil Breen with the cheapest-looking green screen background effects from some Nintendo 64 games. There you have it. So yeah, this is a doozy one.

The plot goes like this: The young scientist, Henry Howard, is developing some kind of amazing purple serum for the government. The plan is that this serum will cure the world of famine and turn anyone who injects it into superhumans. Henry is also a grumpy-pants who mostly wears a frown which I honestly thought James Rolfe had trade marked. Anyway, Henry is in love with Hannah and wants to marry her. The problem is that Hannah also happens to be the daughter of General Darwin, who refuses Henry to marry her until after he has the serum ready.

All odds seem to be against poor Henry, and after being robbed on his way home after a date with Hannah, he’s had enough and decides to try the serum. Since there’s no budget here, don’t expect much of a transformation scene. Some dark CGI clouds covers the screen until it fades away and in front of us we have The Not So Amazing Bulk: a purple, retarded, babyface-looking, dickless stock cartoon monster with only one or two animations. He stomps at thugs and bad guys, but when he’s confronted by the only two lousy police officers in the city, he runs like a soy-filled bitch as if he’s crapped his pants.

And in a castle somewhere where it’s dark and gloomy and bats are flying everywhere, we meet Dr. Werner von Kantlove and his braindead cute-as-a-poodle wife Lolita. Dr. Kantlove is a wobbling super villain who looks like a cross of Javier Milei’s wig and a shady Nickelodeon producer who likes to sniff the bare feet of little girls. So, what’s his agenda? Just to blow up the moon. The Bulk now has a nemesis to take care of, but there’s more. Much more. The Amazing Bulk is a treasure chamber of ineptitude awesomeness, and when you think you’ve seen the worst, you’ll be surprised.

The film is directed by Lewis Schoenbrun and the only post on his trivia section says that he’s a fan of Stanley Kubrick. Who isn’t. His short Wikipedia page can tell us that he was born in 1958, has worked in the film industry since the 1970s and made his magnum opus The Amazing Bulk at the age of 52. Having that in mind, it’s almost impossible to even suggest that this was made with even the smallest nugget of seriousness. Well…

There’s a rare interview of the man where one can already tell by his picture that he’s certainly that kind of guy who’d make a film like this bad on purpose. The intention was to make a film in the same spirit as Who Framed Roger Rabbit, Speed Racer, and clearly Sin City with some elements of Dr. Jekyll and Mr. Hyde. He bought a whole package of digital stock effects of figures, backgrounds, foregrounds, everything for 2,000 dollars, while a group of amateur actors used a treadmill to give us the illusion that they are walking in the environment as the background scrolls behind them. The whole thing took only five days to shoot in a garage in California with a complete budget of 14.000 dollars. 14.000 spent on what? God knows. Every single scene here is green screen filled with the shittiest cartoon backgrounds you can imagine. It looks worse than a YouTube skit from 2006.

After the film got the reaction it clearly deserved, with people almost dying from laughing, director Shoenburn decided to pull a Tommy Wiseau to say that the film was actually meant to be a comedy, you dummy. I would believe him, if it wasn’t for his Jupiter-sized ego getting in the way of commenting about the negative reviews. Because, in his mind, people are just jealous of not being a film director like him. Uhm, okay. Someone please pull his head out of his ass before he suffocates. During the past twelve years, he’s been retired from directing and has since worked at the International Academy of Film and Television as a teacher in the Philippines. Good for him.

The film gets ~~better~~ worse and more batshit as it goes on with scenes and logic that could only come from the brain of a six-year-old. So we thought. Two grown-ups actually wrote the script. One of my favorite moments is the chase scene between the Bulk and the two police officers as they run through a completely empty and lifeless city. I can’t describe how mindbogglingly horrendous the effects are, but we have a classic moment where the Bulk makes a car swirl in the air and lands on one of the officers. And the size of the car is the same, if not smaller, than the person. Top tier filmmaking, where everyone should take notes. Some of the effects looks like they were made in MS Paint while others are in such low resolution that the only thing we see is a blurry mess. The Amazing Bulk is a demented trainwreck of a shitshow that I can’t recommend enough if you like funny-bad movies. Truly a masterpiece in its category.

The film is available on DVD from Wild Eye Releasing and can be streamed on Tubi.

Director: Lewis Schoenbrun
Writers: Keith Schaffner, Jeremiah Campbell
Country & year: US, 2012
Actors: Terence Lording, Shevaun Kastl, Randal Malone, Juliette Angeli, Jed Rowen, Deirdre V. Lyons, Mark E. Fletcher, Mike Toto, Meghan Falcone
IMDb: https://www.imdb.com/title/tt1788453/

Lung I & II (2016)

Posted on September 12, 2023September 12, 2023 by HorrorGhouls

It was a boring summer in 2015 with nothing to do, and one day the underground filmmaker Phil Stephens grabbed his 50mm camera, started taking some random photos around his house in Philadelphia and headed out to the local woods to film more random stuff. After hours and hours of footage, he handed the raw material to his friend and editor Ronnie Sortor, who did his very best to stitch it all together to resemble a feature film. Both films, Lung and Lung II, have the same runtime of 1 hour and 14 min.

Lung (also called Lung one) is in all black and white and starts off with a nameless young man with long hair, beard and glasses (played by the director himself) who dismembers body parts with a cleaver. After this warm and welcoming opening, we’re out in the woods where we follow the same person (I assume), credited as Unknown, as he wanders aimlessly through the woods. We can already guess he’s an escaped mental patient judging by his clothes and the ID wristband.

Mr. Unknown sees a baby carriage on a small bridge which holds a baby skeleton. Of course. He then sees some obscure person wearing a gas-mask. Okay. And he continues to stumble upon more corpses, skeletons and, if not dream logic, absurdities the further he goes from the next area to absorption. He walks through some hoods in the Philadelphia area where he enters his house, where he goes more insane and has a mental breakdown in the bathtub. He sees a collection of flyers and photos from Flowers (Stephen’s previous film) everywhere, which seems to trigger him. Not much hope for better days is to be seen on the horizon.

According to Phil Stevens, Lung was originally meant to be an autobio of the director who went insane after the traumatic experience of shooting his second film, Flowers.

Lung II is more or less the first film all over again just with the concept of an escaped killer on the loose. Much of the same footage from the first film is used while some new scenes are added. Some unused footage from Flowers is also stitched in. And if you don’t know beforehand that this is some sort of a prequel to Flowers, you’ll sit there with a big question mark while you’re scratching your balls. Lung II screws more with your head than the first one as it’s filled with more cryptic weirdness, more slimy skeletal corpses, the sweet smell of decay everywhere and all in a universe not too far from David Lynch’s Eraserhead. There’s also a gooey piece of flesh in Mr. Unknown’s fridge with a vagina and an erected penis, just so you know in case you’re hungry.

And if you haven’t already guessed it, we are talking about two very experimental arthouse films, the one more confusing than the other. So don’t expect any conventional story-telling here. I could tell just from looking at the DVD cover that it was far away from the ordinary, and that’s what I got. The mood and state of mindset is everything, of course. What Lung(s) provide really well are the visuals and atmosphere by Phil Stevens, who has a sharp eye for black and white photography. He filmed both films by himself, with handheld and static from different angles, and managed to create the sense of a bleak, nightmarish, dystopian world which we all are welcome to get lost in. Just remember to put your shoes on.

Lung is available on DVD from Unearthed Films which include both films with the director’s commentary track, plus some of his short films. You can also watch it for free on Phil Steven’s own YouTube channel.

Writer and director: Phil Stevens
Country & year: US, 2016
Actors: Phil Stevens, David Chopping, Bryant W. Lohr Sr., Samantha Coppola, Angela Jane, Colette Kenny Mckenna, Michael Kennedy a a lot of corpses
IMDb: www.imdb.com/title/tt23396630/ & www.imdb.com/title/tt5073690/

964 Pinocchio (1991)

Posted on October 28, 2022March 15, 2024 by HorrorGhouls

Ready for some fucked up Japanese cyberpunk acid-trip that will blow your mind to smithereens and probably put your endurance test to a whole new level? Then let me introduce 964 Pinocchio which starts off like every normal Disney film.

964 Pinocchio, or simply called 964, is on the outside a young boy with a cute little unicorn haircut, but on the inside he is a broken, demented, helpless cyborg, manufactured in some clinic to be used as a sex slave. Unfortunately 964 can’t get an erection, so some doctors brutally drills through his skull to wipe out his memory and turn him into a lobotomized vegetable before he gets thrown out of the clinic like a dog – and gets a rough welcome to the bleak and depressing society of urban Japan. At least he’s able to walk, and soon finds himself in the isolated environment of Tokyo where he meets the homeless girl Himiko. And the most normal thing in this movie is that he actually meets a girl that’s a fully functioning human being, even with some level of empathy. She invites him to come and live with her in some abandoned industrial shithole, where she does her best to learn him to speak, and cruises along shopping malls to snap food straight from the counter. All filmed in guerilla style, by the way, where all the civilians are unaware extras, and done in a hurry before someone finds out and calls the police.

Where we thought the film was seemingly normal, they fall in love, and the moment they exchange their tongues to each other, the image freezes before fading to black, and the the shit is about the get serious. Our unicorn-haired fuckdroid infects Himiko with something that makes her go noodle-shit crazy of some epic proportions, starts to abuse him, and … holy fuck almighty, how am I even going to describe what happens for the next hour and so. Get ready for a lot of close-ups of insane facial expressions, puking, frantic running, some brief low budget body-horror and just overall a relentless odyssey with screaming, shouting and moaning like

OOOOOUUUAAAAAAAAAAAAHH,HHNNGHHHUUAAAAAA, HUUNNDGGHOOOUOAAAAAAAAA, EEEEEEEEEEEH, EEEHHHHH, OOOOOOH, AAAAAAAAAHHUGHH, AAAUUUOOOAHHHHHHOOAAAA, GGHHHHHIIIIIIIIIAAAAAAAAAAGHH, GGGGHHHHHHHHHIIIIII, AAAAAAAAAAAAGGHHHFFHHH …

… and here you basically have most of the script in a nutshell. And it’s of course natural to compare 964 Pinocchio to its big brother Tetsuo, where also director Shozin Fukui was one of the crew members on that film. Shozin Fukui probably thought to himself that “hah, I can make something more insane that this, even with a much longer runtime. Shiyou! ” When Tetsuo had its perfect runtime of 65 minutes and was able to hold on a certain narrative, flow, and knew where to stop, this mofo on the other hand, goes on for one hour and 37 minutes with scenes that drags on forever with little to no direction. There’s a scene lasting for ten minutes during the last thirty minutes, where 964 runs frantically through the streets of Tokyo while looking like a demented cyberpunk version of the Joker, and of course screaming his lungs off. And that scene feels more like three hours. Pure deranged misery. I will at least give the film credits for its energetic, handheld camerawork which gives off some early Peter Jackson vibes, and the intimate illusion of being present with 964 through his endless, tortuous, kinetic nightmare. The actors give it all with full dedication and Haji Suzuki as 964 is a diabolical force of nature. Others will also pick up a laundry list of metaphors, cryptic symbolism and social commentary between all the monotonous screaming, running and whatnot that only the inhabitants of planet Japan are able to perceive with a straight face. I can recommend 964 Pinocchio mostly as an endurance challenge and just congratulate in advance to those who manage to sit through it in one single setting without any pause. Good luck.

The one and only 2004-DVD release from Unearthed Films went out of print ages ago, but is to be found on eBay, very pricey, though.

Director: Shozin Fukui
Writers: Shozin Fukui, Makoto Hamaguchi, Naoshi Gôda
Also known as: Screams of Blasphemy (UK)
Country & year: Japan, 1991
Actors:Haji Suzuki, Onn-chan, Kôji Ôtsubo, Kyoko Hara, Rakumaro San’yûtei, Kôta Mori, Tomio Watanabe, Anri Hayashi, Kyôko Irohani, Michiko Harada, Yûko Fujiwara, Yoshimitsu Takada, Naoshi Gôda
IMDb: www.imdb.com/title/tt0225009/

Mad God (2021)

Posted on October 21, 2022May 22, 2023 by HorrorGhouls

A character wearing a gas mask, The Assasin, descends into a hellish world filled with devastation and mayhem. With him on his dark journey into a dystopian nightmarish world, he’s got a map and a suitcase, and while traveling deeper and deeper he encounters several monstrous creatures. Filth, death, war, despair and, well, hellish surroundings are all over the place.

Mad God is a stop motion horror film which was written, directed and produced by Phil Tippet. The film was in production over a period of thirty years. Tippet started filming it while working on Robocop 2, but when he became involved in Jurassic Park this set the film on hiatus. Originally, Jurassic Park was supposed to have stop motion dinosaurs, but after Spielberg saw some CGI work of a T.rex, he told Tippett: “You’re out of a job”. To which Tippett replied, “Don’t you mean extinct?”. This was even referenced in Jurassic Park, where Dr. Grant says “Looks like you’re out of a job” to Dr. Malcolm”, and he replies “Don’t you mean extinct?”. Anyhow, Tippett was still kept as supervisor for the CGI animation of the dinosaurs, so at least he wasn’t really out of a job… but due to the change during his involvement in this film he believed that stop motion was now a thing from the past, and because of this he shelved the Mad God project. Which is a sad thought, really, as many stop-motion effects from some older films can look really good, and often better than many of the early CGI effects used. Even now, I think there are some movies whose practical effects look greater than some of the modern CGI of today…

In spite of all that, Mad God got pulled out of hiatus-status twenty years later, when members of his studio encouraged him to start working on it again. And with a successful Kickstarter campaign, and a crew of volunteers to assist him, Mad God came into fruition at last.

And what kind of movie is Mad God, exactly? Well…I dare say you’ve never seen anything quite like it before. We start off with a scene depicting the destruction of The Tower of Babel, and then we see a citation from Leviticus 26, which reads as follows:

“If you disobey Me and remain hostile to Me, I will act against you in wrathful hostility. I, for My part, will discipline you sevenfold for your sins. You shall eat the flesh of your sons and the flesh of your daughters. I will destroy your cult places and cut down your incense stands, and I will heap your carcasses upon your lifeless idols. I will spurn you. I will lay your cities in ruin and make your sanctuaries desolate and I will not savor your pleasing odors. I will make the land desolate so that your enemies who settle it shall be appalled by it. And you I will scatter among the nations and I will unsheath the sword against you. Your land shall become a desolation and your cities a ruin”.

Yeah…that’s the words of a Mad God indeed, one that is truly pissed off. Or just completely deranged. And we get to see a world that is actively punished by this mad god.

Aside from that, there isn’t much of a story to cling to here, although one can clearly see the statement about our world and its condition. There are several segments which are obvious metaphors for certain human behaviour, and you can probably dissect and analyze so many parts that are shown here. Mostly, though, it’s a film that is mainly enjoyed due to its visuals and dark content. There’s so many weird and absurd things happening on screen, everything from things that are disgusting and gross, to the weird and uncanny, to pure nightmare-fuel. There’s also a bit of blood and gore, and other stomach-churning stuff. There’s even a scene (although somewhat obscured) where Putin is taking Trump from behind while Hitler is watching. Jeez. Creatures are chopped into pieces, eaten, tortured, and everything is just filled with decay, debauchery and general ghastliness.

Mad God is definitely not a film for everyone’s tastes. Some will find it a nonsensical and gross mess, while others will enjoy the dark, surreal, nihilistic atmosphere and awesome special effects (Horror Ghouls belonging to the latter group of people).

Mad God is available on Shudder (for those who live in a country where this is accessible. We live in Norway, where Shudder is not available, though we were lucky enough to get one of the few copies of the film on DVD).

Writer and director: Phil Tippett
Country & year: USA, 2021
Actors: Alex Cox, Niketa Roman, Satish Ratakonda, Harper Taylor, Brynn Taylor, Hans Brekke, Brett Foxwell, Jake Freytag, Harper Gibbons, Tom Gibbons, Tucker Gibbons, Arne Hain, David Lauer, Chris Morley
IMDb: www.imdb.com/title/tt15090124/

Tetsuo (1989)

Posted on February 18, 2021March 15, 2024 by HorrorGhouls

How to even start with this movie…Uhm, well…

It starts with a random, disturbed guy called “The Metal Fetishist” (played by the director himself) who’s wandering in some decayed urban area, barefoot. He enters a shack hoarded full of metal junk where he stabs himself in the foot, and injects himself with an iron pipe and goes through some kind of a metamorphosis. A glimpse of an everyday life of an extreme metal fetishist where it just went a little too far, I guess. He then screams and runs like a lunatic and gets hit by a car driven by a typical Japanese salaryman who then gets infected by a biomechanical virus. As the title screen rolls, he gives us the “Tetsuo Dance” before he wakes up in his apartment and gets ready for work. As he shaves, he notices a small metal point on his cheek, which pops out and starts shooting blood over his face as he touches it. Sounds weird, you say? You’ve seen nothing yet. I won’t spoil much more than this, other than our salaryman slowly transforms into a grotesque hybrid monster of flesh and metal with the desire to destroy the whole planet. And yeah, his penis also transforms into a big metal drill that no one would want to mess around with.

Tetsuo, aka The Iron man, is an explosive result of an inner frustration that the young director Shinya Tsukamoto had built up after an unstable relationship to his dad, growing up in heavily industrial surroundings, and the extreme pressure of the Japanese working culture. The environment is what makes a human, as they say, and Tetsuo is a prime example of that, and could be seen as a pretty alternative artistic view of the breaking point of the human mind, if you will – even though the film is open for countless interpretations. This is Tsukamoto’s fifth film, at the age of 29, after making some shorts and other projects he would never be satisfied with, and at the top of this his father kicked him out of the house right before the filming. Fortunately, due to the success and the cult-following of Tetsuo, he quickly became a prominent filmmaker in Japan with titles such as Bullet Ballet, A Snake in June, Nightmare Detective and also made two sequels to Tetsuo, called Tetsuo: Body Hammer and Tetsuo: Bullet Man, the last one with a soundtrack by Trent Reznor . He’s also known for his acting roles in Takashi Miike’s Ichi the Killer, Takashi Shimizu’s Marebito, and Martin Scorcese’s Silence. His dad should be proud by now.

Tetsuo is shot on 16 mm, in black and white, with a budget of his day job at that time. Mostly filmed in one of his co-workers cramped apartment over 18 months with hard and difficult conditions (which is not hard to imagine at all), where the cast and crew also lived during the production. The conditions came to a point where the actor who plays the salaryman got the urges to escape the set several times because of shooting days that never seemed to end, while crew-members just came and left. The whole production was such a nightmare, according to Tsukamoto, that he considered to burn all the negatives. And we should just be glad he didn’t, because Tetsuo is a truly insane, hyperactive, nightmarish cyber-punk/art-house/body-horror masterpiece that easily could be describes as Eraserhead on crack cocaine. Very aggressive, graphic, experimental and completely bizarre and truly one of a kind. It’s one of those “what the hell did I just watch-films“, and it’s clearly not for anyone, especially for those who’s epileptic. The technical aspects is from another planet (Planet Japan that is) with some really impressive stop-motion effects, camera work and costume designs. It has a great and sharp sound design and a really heavy, industrial soundtrack by Chu Ishikawa that fits the intense imagery perfectly.

So, what else is there to really say about this movie, other than: just watch it! Watch it on a big screen in a dark room with loud sound.

Director: Shinya Tsukamoto
Country & year: Japan, 1989
Actors:Tomorô Taguchi, Kei Fujiwara, Nobu Kanaoka, Shinya Tsukamoto, Naomasa Musaka, Renji Ishibashi
IMDb: www.imdb.com/title/tt0096251/

Begotten (1989)

Posted on March 7, 2020September 12, 2023 by HorrorGhouls

Time for a fun movie for the whole family to enjoy on a Friday night with some pizza. Or maybe not.

Begotten starts inside a cabin where we see a disturbed, horrifying figure sitting in a chair, filmed in a high contrast of black and white. While the soundtrack consists of crickets, bird-chirping and distant heartbeats, we see that the figure starts to cut himself to death with a straight razor. A great product placement right there (haha). Feces stream down between his legs while he’s sitting bloody and dying in his chair, gurgling his death rattles. This is God we’re talking about, by the way. Out of his fresh dead body comes Mother Earth who uses God’s semen to impregnate herself, where we get served some hairy close-ups where she rubs his juice into her vagina. She wanders into an obscure forest landscape where she gives birth to Son of Earth. She then leaves him behind to some faceless nomads who drag the poor newborn (who already has the body of a grown man) like a rag doll, through a desolate landscape until he supposedly starts spewing out some of his organs. And this is just the beginning of a horrendous, surreal odyssey of pain, suffering, torture and death, that can be described as witnessing a painful fever nightmare from the subconscious mind of a strapped schizophrenic mental patient.

By reading the plot synopsis you learn that Begotten is an alternative retelling of The Book of Genesis, but without knowing this beforehand, one could easily assume watching an underground snuff film taken straight out from The Dark Web. The distinct, strong visuals is truly remarkable here, filmed in grainy black and white that sets the atmosphere from the very first frame. Shot on 16 mm on reverse-exposure, which is a picture effect you get on most digital cameras today, but back in the late 80’s when this film was made with analog stone-age equipment, this was a real artistic achievement. Director E. Elias Merhige experimented like a mad scientist to get the exact, withered, aged look by using sandpaper to scratch up the reel before shooting. That wasn’t good enough, however, and he used the rest of the budget of 33. 000 dollars to construct an optical printer during a long, tedious period of eight months. And each minute of footage generated by the printer took on average between eight and ten hours to complete. Phew, that’s some real dedication and patience right there.

Some describe this as simple as a nightmare captured on film, and an extended version of the cursed VHS cassette from The Ring, which I can pretty much agree with. Certainly not for everyone, and as far away from mainstream you could probably get. But it’s surely a uniquely deranged avant-garde filled horrific, nihilistic atmosphere with haunting images that will probably stick with your forever. This is also Marilyn Manson’s personal favorite film, which made him so impressed that he hired director E Elias Merhige to direct the music video for Antichrist Superstar and Cryptorchid. Another guy who liked the film was Nicolas Cage, who hired him to direct Shadow of the Vampire for his newly established Saturn Films. A great, underrated movie, by the way. After his second Hollywood studio film “Suspect Zero”, Merhige went back to the underground and made the short film “Din of Celestial Birds”, which is considered an unofficial sequel to Begotten. His recent creation is a short called Polia and Blastema, a surreal love story about two alien creatures. And from the few previews I’ve seen, it looks completely mind-blowing.

An official, yet very limited DVD was released back in 2001 by World Artist, which included a souvenir booklet, the original theatrical trailer, rare and never-before-seen movie stills, and production photos. It’s of course out of print, but can be found on eBay at different prices. It’s also available on YouTube.

Director: E. Elias Merhige
Country & year: USA, 1989
Actors: Brian Salzberg, Donna Dempsey, Stephen Charles Barry, James Gandia, Daniel Harkins, Michael Phillips, Erik Slavin, Arthur Streeter, Adolfo Vargas, Garfield White
IMDb: www.imdb.com/title/tt0101420/