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That said, Until the Light Takes Us's initially aimless interviews with Varg's counterpart, Fenriz, do a subtle but effective job of relaying the scene's commoditization and relative demise. Fenriz attends an exhibit of work by the artist Bjarne Melgaard, who earns his pay by introducing the scene to highbrow audiences, and later we meet "Frost," a member of the band Satyricon whose ideas about black metal come off as tired, uncommitted platitudes. ("I'm talking about darkness with a capital D," he says at one point.) For its flaws, the most egregious of which is the near-lack of actual black-metal music on the film's soundtrack (it's full of hipster-friendly metal and avant-rock bands), Until the Light Takes Us is still a handy and inherently compelling introduction to the scene. Just be sure to read more about it afterwards.

Christopher Gray can be reached at cgray@phx.com.

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