If you’re the type of person who has not only never heard of black metal, let alone listened to any music that might fall in the “metal” genre, then “Until the Light Takes Us” is the perfect documentary for you.

“Until the Light Takes Us,” the debut documentary by directors Aaron Aites and Audrey Ewell, is a captivating, if not somewhat emotionally disturbing foray into Norway’s black metal movement that became popular the early 1990’s and served as a catalyst and outlet for various acts of violence.

Black metal, characterized by its fast tempos, piercing vocals and unconventional chord progressions, gained notoriety in Norway and Sweden when prominent members of the black metal scene, among them Gylve Nagell (who performs in Darkthrone under the name Fenriz) and Varg Vikernes (of Burzum and Mayhem), began engaging in criminal acts such as arson and murder as well as ardently promoting anti-Christian and nationalist ideas. At the height of the movement, anybody associated with black metal was considered satanic and a menace to society.

Aites and Ewell made “Until the Light Takes Us” with the idea of addressing these stereotypes and assumptions, and in a way, setting the record straight. It is not a biased film; the interviewees do not deny the violence and are very open about their actions. Yet there is not an abundance of information available to the general public surrounding the development and motives of the black metal movement, and it is Aities and Ewell’s aim to educate individuals and provide an alternate, objective source of information.

“Until the Light Takes Us” is a simple film in form. Only several key members of the black metal movement, including Nagell and Vikernes, are featured, and much of the documentary contains extended clips of interviews with these members. Yet what the film lacks in visuals, it makes up for with surprisingly poignant interviews.

Vikernes is perhaps the most harrowing component of the film. A former skinhead convicted of murder and arson, he tells much of his story within the confines of jail. Articulate and outspoken, Vikernes’ depiction of the rise of the black metal movement and the subsequent consequences manages to paint an image of his other bandmates and friends in a way that allows their actions and emotions to be relatable to any viewer.

The film, though compassionate, is not for those easily weak in the stomach. The black metal movement thrived on images of depression, gloom and misery. “Until the Light Takes Us” features a series of disturbing images, including one gut-wrenching image of a lead singer’s suicide. Additionally, the film spends a considerable amount of time describing the rise of corpse-like makeup on the metal scene, a trend influenced greatly by the black metal scene.

Despite graphic images, however, it is evident the filmmakers spent much time and consideration on how they represent the band members they interview as well as the movement in general. Both Aites and Ewell moved to Norway several years prior to filming in order to live with current and former members of black metal bands.

Many of these men were involved in a myriad of crimes, and they clearly risk a great deal by contributing their names and stories. However, the decision to become immersed in their lives allowed the filmmakers to gain the trust of the various people they interviewed, and the resulting footage is unabashedly candid.

“Until the Light Takes Us” is one of those films you pick up without actually knowing what you’re getting yourself into. If you’re hoping for or expecting a fast-paced film with a great musical score, then do not watch this film. Surprisingly, any real black metal music is played only intermittently, and much of the film is backed only by silence.

Yet, “Until the Light Takes Us” is not a film to be overlooked, even for the individual who has no interest in the metal scene. While the actual subject matter at hand may have a rather limited fan base, viewers will not be disappointed in the stories of loss, camaraderie and passion for a genre of music that is often disregarded or associated with particular stigmas.

2 1/2 stars out of 5.