The past few years has seen a slew of independent filmmakers tackling the notorious yet unique cultural uprising that is Norwegian black metal, all in an attempt to shed some much needed light on this cold, bleak movement. Until The Light Takes Us, unlike its contemporaries who tend to rely on the accounts of individuals who weren't directly involved in the scene, saw directors Aaron Aites and Audrey Ewell relocate themselves to the frostbitten lands of Norway for several years to completely integrate themselves within the world of the personalities responsible for shaping the scene. As you could likely imagine, the duo were not immediately welcomed with open arms. According to the directors, it required months of intensive relationship building to earn the trust of such noted black metal visionaries as Varg "Count Grishnackh" Vikernes and Gylve "Fenriz" Nagell, the two central figures of the film. But once that bond was formed, and the artists felt no fear of misrepresentation (as has so often happened), the floodgates opened. The result is a poignant, moving story which examines several postmodern ideas including simulation and simulacra, and the severing of a culture's narrative thread. If you are looking for an A to Z retelling of the history of Norwegian black metal, you better start looking elsewhere. Until The Light Takes Us presents a much larger story of black metal, told through the individual stories of the key players, and through the story of their friendships. The directors have created an intelligent and insightful film - the only one of its kind currently out there. They do this without ever having to resort to the more sensationalistic aspects of the scene. Audrey and Aaron have shown us that the rise of Norwegian black metal was about much more than just a bunch of angst-ridden youths who blazed a path of murder and arson across the northern sky. We come to realize, through the filmmakers' sheepishly intellectual efforts, that Norwegian black metal is a byproduct of a heritage and history being swept up in the machine of globalization. Regardless of the crimes committed, the film succeeds in instilling a sense of compassion and understanding in the viewer, particularly as it relates to the struggle for reclamation of cultural identity by these individuals. We are left with a deeper understanding of the overall ethos of black metal, one that has abysmal and barbarous roots dating back to the 10th Century when Christians invaded Norway, erecting their churches on Pagan holy sites. As I see it, the true genius of Until The Light Takes Us is revealed when the viewer strips away all the postmodern ideals, exposing the films basic premise of "what goes around, comes around".