Watch Begotten

Begotten is a 1989 experimental horror film, directed and produced by E. Elias Merhige. Shot in black and white in a minimalist and abstract style, the film is a surreal and disturbing depiction of the creation, destruction, and possible rebirth of life. Inspired by avant-garde movements like surrealism, expressionism, and Dada, as well as religious and mythological imagery, Begotten is a unique and challenging cinematic experience that defies categorization and explanation.

The film opens with a haunting and eerie image of a figure (identified in the credits as God Killing Himself) lying on the ground and cutting his own stomach with what appears to be a razor blade. Blood pours out of the wound as the figure convulses and coughs, surrounded by an empty and desolate landscape of rocks, hills, and sky. The repetitive and hypnotic soundtrack, composed by Evan Albam, adds to the sense of dread and discomfort.

After this harrowing and enigmatic prologue, the film introduces another strange and surreal character, identified as Mother Earth. She emerges from the ground, covered in dirt and branches, and starts wandering aimlessly through the barren and eerie realm. Her movements are slow and graceful, almost dance-like, but her face is expressionless and her eyes are empty. The camera follows her closely, often zooming in on her hands or feet, as she encounters various bizarre and unsettling sights.

One of these encounters is with the Son of Earth, a strange and mute creature who emerges from the ground and starts crawling towards the Mother. He is covered in mud and twigs, with a bulbous head and distorted limbs. His movements are jerky and animalistic, and his presence is both fascinating and repulsive. The Mother seems to recognize him but also fears him, and tries to escape from him. However, the Son of Earth is persistent and eventually catches up with her, leading to a disturbing and violent scene.

The rest of the film follows a series of similar encounters and scenes, featuring other mysterious and disturbing characters, such as the Veiled Being, the Empty Being, and the Faceless Being. Some of them seem to be part of the Mother's journey, while others appear to exist independently and randomly. The borders between reality and fantasy, life and death, and sanity and madness become increasingly blurred and uncertain, as the film becomes more and more abstract and surreal.

One of the most impressive aspects of Begotten is its visuals. Shot on 16mm film, with a DIY and low-budget approach, the film achieves a stunning and unforgettable look, using various techniques such as slow motion, time-lapse, and negative imaging. The black and white photography gives the film a timeless and universal quality, while the lack of dialogue and conventional plot invites the viewers to interpret the images and symbols according to their own perspective and imagination.

Another notable feature of Begotten is its philosophical and religious themes. Although the film does not offer any explicit message or commentary, it includes numerous allusions to various mythologies, cosmologies, and esoteric teachings. The figures of God, Mother Earth, and the Son of Earth can be seen as archetypes of creation, destruction, and rebirth, while the other characters and objects can be interpreted as manifestations of various psychological, ecological, or spiritual concepts.

Overall, Begotten is a challenging and fascinating work of experimental cinema, that deserves to be seen and analyzed by those who appreciate unconventional and thought-provoking art. Its striking visuals, haunting soundtrack, and disturbing imagery create a visceral and immersive experience, that stays with the viewers long after the film ends. Although it is not a traditional horror film, it can be seen as a prime example of "art horror", a subgenre that explores the boundaries between art and horror and challenges the conventions of both.