Death & Rebirth

Experimental and Avant-Garde films are not entertainment as most people would normally see it. In many cases, the standards of narrative, cinematography, and sound are abandoned for testing the metaphorical (and sometimes literal) boundaries of both cinematic and audience tolerance.

Few films so viciously assault celluloid and audiences as E. Elias Merhige’s Begotten. If movies can be described as a ribbon of dreams, Merhige’s experimental masterpiece is a ribbon of fevered nightmares, a bleak reinterpretation of archetypical Creation myths. Allegedly written regarding the directors near-death experience at the age of 19, it’s easy to see how Merhige would later go on to direct such macabre films as Shadow of the Vampiree (a dark comedy/horror centering on F.W. Murnau’s Nosferatu.)


Begotten uses a twisted allegory to represent the elements common to Genesis stories found across multiple cultures. Many stories feature a masculine Demiurge coupling with a Mother Goddess, giving birth to a self-sacrificing Messiah. Anyone with a passing familiarity with Theology or the Cosmology of Hinduism or Ancient Egypt might be able to see some of these in Begotten. They may be shocked, however, to see a Messiah naked and twitching in primal suffering or to see a God in a seemingly mindless act of self-mutilation. Where Merhige excels in this film, however, is not in gore or “shock factor,” but rather his vision of the cinematic process, from technique down to the base medium being used.

Filmed entirely on Black and White Reversal stock, Merhige went through the painstaking process of rephotographing each frame. The end result is a true monochrome; black and white with absolutely no grey middle tones. The effect is entrancing and unsettling, shifting between blindingly bright and complete obfuscation, the visuals can be deeply confusing as to what is actually being viewed. Sonically, Begotten is devoid of spoken word and a traditional score or soundtrack. In place of dialog is crickets, white noise, snippets of classical instrumentation, and an unwholesome wet gurgling noise. The combination of visuals, subject matter, and atonal sound creates a mix that is as enticing as it is repulsive.

Begotten was released in 1990. Given the graphic and bizarre presentation, it was unable to secure a wide distribution, though eventually it found it’s way via independent movie companies who secured copies. With the advent of Internet, Begotten has found a greater audience, and has been considered to be a high-water mark for Experimental cinema as well as heralding the oncoming violence that has bled back into Horror movies.

Begotten is a truly unique work, and as such, is not for all audiences. For those interested, I have provided a link to the film in it’s entirety. However, keep in mind that it is not safe for work, extremely graphic, and not “light cinematic fair.” As always, apply discrimination before clicking the link below.



Click here to watch.