Cult horror films (as in films about cults) are a dime a dozen, it seems, and with good reason! Not only are cults inherently terrifying, but there are some amazing things you can do with eldritch gods, blood rituals, the whole nine yards. In his new horror feature, The Behemoth (which had its world premiere at the 2025 HARD:LINE Film Festival), director Kai Edmund Bogatzki crafts a unique take on the cult horror film, flipping the script on genre tropes and imbuing this nasty story with as much blood as an indie horror film can spare.
The Behemoth starts with a bang by opening on a birth in reverse. As a woman tied to a table screams in terror, a robed cult leader inserts a monstrous fetus inside of her, hoping that she’ll become the incubator for the titular behemoth. Sadly, her body is rejected and the cult is now left to find another vessel for their almighty god. As is often the case in a cult horror film.
Cut to happy couple Rebecca (Sarah Dawes) and Ryan (Ryan Wichert) driving to a much-needed vacation in the mountains. They’ve found a cute Airbnb in a quaint small town and are ready for some rest and relaxation. Upon their arrival, they meet their host, Christine (Beatrice Fletcher), who owns and lives in the building, renting out units to travellers, especially when the weather is nice.
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The couple settles in and gets to know the town, including its main tourist attraction: a lift up the mountain to admire the absolutely glorious views. But the longer they stay in town, the stranger things seem to get as Christine’s boyfriend disappears and mysterious figures appear at night…
Now, you’d be right to assume that this is when the cult appears and harasses the couple for the rest of the film, with it all culminating in a bloody sacrifice and the resurrection of the Behemoth. But, Bogatzki and his co-writers Rapsodies and Orso Vesperini know horror and what horror fans expect. So, they subvert expectations with a story that shifts tone halfway through into something even more nightmarish than simple religious slaughter. I dare not spoil where it goes, but let’s just say it’s giving Evil Dead (2013) vibes.
While the story is strong, the dialogue does stumble in some places, especially when it comes to Rebecca and Ryan’s dialogue. Moments that are meant to feel romantic or sweet feel stilted and almost like they belong in a different movie. These are the moments when you feel the film’s indie horror budget the most, where there could be more polish if there were time for it. Yes, it may sound like I’m making excuses, but this is what comes with watching and supporting indie films, especially indie horror. Not everything is perfect, but the effort that shines through from the entire creative team is enough to keep you in your seat, anxiously anticipating what’s next.
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What The Behemoth lacks in polish is made up for with buckets of gore and gnarly practical effects. Between the special effects by Philipp Rathgeber and the makeup by Ina Chochol, Bogatzki assembles a stellar team to deliver his gnarly cosmic horror vision, complete with mewling monster fetuses and plenty of body parts. This is how you do blood on a budget.
I’d be remiss not to mention Fletcher’s scene-stealing performance. Her character is put through the wringer, to say the least, which lets Fletcher show off not only her acting abilities, but also her physicality and ability to use her body in strange and terrifying ways. Christine’s arc is by far the most shocking in The Behemoth, and Fletcher rises to the occasion with ease.
With a minuscule budget and a dedicated team, Bogatzki accomplishes something deeply impressive with The Behemoth. While some of those budget limitations are more obvious than others, this take on cosmic cult horror is stuffed with enough blood and surprising twists to keep any horror head on the edge of their seat. Bogatzki obviously has vision, and I can’t wait to see what he does with more money and resources on his side.
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