Top 10 Most Disturbing Cult Classics You've Never Seen

#10: Santa Sangre (1989)

The legacy of filmmaker Alejandro Jodorowsky is one thats firmly tethered to both controversy and artistic passion. Santa Sangre was released years after Jodorowski first made headlines with his midnight movie cult hits El Topo and The Holy Mountain. 1989 proved that this maestro had lost none of his boundary-pushing power, however, as evidenced by the films visual aesthetic. Santa Sangre is colorful and morbid, grotesque-yet-beautiful. Jodorowski also peppers his film with subtextual references to trauma and psychological damage. It all comes together to form an experience that may be occasionally difficult to watch, yet compels us to stare into its abyss all the same.

#9: The Baby (1973)

The term infantilism isnt generally used today in the medical world, but 1973 was a long time ago, a perfect time for a film like The Baby. Director Ted Posts work within the medium of television allows for this films visual style to play into the overall confusion surrounding its protagonist, Ann. The Baby feels like a fuzzy, retro sitcom come to lifeonly with a very twisted premise. Anns own feelings of guilt play into her decision to take the case of a family with a very special individual. Things end up being not as they seem, of course, and trust us when we tell you that we just cant spoil the ending of The Baby. Youll have to check it out for yourself!

#8: Possession (1981)

Much has been written about this cult psychological horror thriller from writer/director Andrzej uawski. 1981s Possession is largely seen today by critics as something of a masterpiece, despite its brazen and disturbing special effects work. uawski has been quoted describing Possession as something of an autobiographical piece, dramatizing his real-life divorce within a plot that includes espionage, creature effects and an absolutely riveting performance from Isabelle Adjani. The latter is truly the star of the show here, showing no restraint within scenes that honestly demand a lot of physicality and hysterics from the actor. Possession is truly one of a kind.

#7: Tetsuo: The Iron Man (1989)

It isnt everyday that a movie could potentially be referred to as an all-out assault, but thats exactly what watching Tetsuo: The Iron Man feels like, especially for the first time. This feature was written, produced and directed by Shinya Tsukamoto, and is an artistically shot piece, to be sure. Its also, however, a relentless attack in the audio-visual department, battering the senses of its viewer. The gruesome special effects depict a man undergoing a violent, physical metamorphosis into a machine. Meanwhile, the score from Chu Ishikawa echoes this body horror madness, scraping and scarring the audience with harsh walls of noise.

#6: Gummo (1997)

Many critics took major notice of 1995s Kids. That film featured a screenplay from Harmony Korine, and it was the success of Kids that allowed for him to helm his first feature, Gummo. The end results were predictably unique, perhaps to a fault. They also didnt hold the hand of anyone who liked Kids and expected more of the same from Korine. Gummo eschewed traditional story structure in favor of malcontent slice-of-life vignettes from a small Ohio town thats been victimized by a tornado. Unforgettable images such as the spaghetti-in-the-bathtub scene or an accompanying soundtrack full of harsh black metal music proved that Gummo was going to do whatever the hell it wanted. And it didnt care if you were along for the ride.

#5: Faces of Death (1978)

The world of mondo cinema is one that exists at the nexus point combining documentary filmmaking and exploitation. Its a genre that dates back to the 1960s, encompassing everything from travelog films to the reality embodied by Faces of Death. This was a home video staple in the 1980s for horror loving youth thanks to its very simple premise. Faces of Death contains scenes of violence and death that are occasionally legitimate, usually ripped from newsreel footage. Much of it, however, is staged, but this takes little away from the shock value of its initial release. Theres also the cult fandom surrounding franchises like Faces of Death that ask real questions as to the complicity of enjoying such material in the privacy of our homes.

#4: Begotten (1989)

This is one of those cult films thats largely survived through reputation and word of mouth alone. Begotten is an uncategorizable cult film that largely exists within the horror space, thanks to the harrowing nature of its visuals. Director E. Elias Merhige crafted an art piece that works as a silent, black and white slow burn with a nonlinear narrative. The experience of watching Begotten is one thats best enjoyed alone and in the dark. Meanwhile, the controversial death of God sequence is one that seems to be permanently a part of the Begotten conversation amidst cult film circles. Well, that and the films permanent fixture within the bootleg/grey market arena, since finding physical copies of Begotten has proven difficult for fans.

#3: Nekromantik (1987)

Are you one of those movie fans thats always seeking out the next extreme thing? To explore one of humanitys greatest taboos? Then perhaps youre one of the many who championed director Jörg Buttgereits 1987 cult classic, Nekromantik. This is a film that was banned and censored around the world, yet one thats also been praised in the modern era for its morose and melancholic beauty. Nekromantik isnt only about loving the dead. Buttgereits film also explores themes of social apathy, of internal anxiety and our collective fear of dying and the unknown. Meanwhile, the soundtrack to Nekromantik juxtaposes scenes of sex, death and real animal violence to musical moods of unique and subtle darkness.

#2: Men Behind the Sun (1988)

There is no joy to be found within 1988s Men Behind the Sun. Nor is there any sort of comeuppance for the wartime atrocities committed by the Imperial Japanese Army within this dramatization of the real-life Unit 731. Instead, this film from director Mou Tun-fei (under the pseudonym of T.F. Mou) feels like a hate letter from Hong Kong, delivered under the guise of exploitation cinema. The special effects here were among the most infamous of the time, leaning almost into faux snuff territory. However, there is also the (allegedly) very real footage of a human autopsy, as well as a controversial scene featuring a cat. Dont say that we didnt warn you.

#1: Man Bites Dog (1992)

The NC-17 rating isnt one thats usually doled out for North American theatrical releases, yet this definitely felt appropriate back in 1992 for Man Bites Dog. This Belgian film is a black comedy/mockumentary that asks its audience questions about violence, how we consume it as entertainment, and our places as accessories to its effects. The documentary film crew featured in Man Bites Dog are following a hitman during his day-to-day murders. Soon, however, the lines between documentary impartiality and complicity are blurred, and the crew find themselves unable to detach from their subject. All of this is told within the films outstanding black-and-white photography, a thing of beauty that exists alongside unrepentant violence.

What, to you, defines a cult classic? And is there a point where moviemaking goes too far? Let us know in the comments!