The Best Atmospheric Cemeteries in Movies

Contents:

• Pennsylvania's Evans Cemetery: History and Significance
• London's Highgate Cemetery: Mysteries and History
• DB-320 Tomb at Ancient Deir el-Bahari, Egypt
• Madeleine Necropolis in Amiens
• Lutheran Cemetery in Smolensk: History and Significance in St. Petersburg
• Vvedenskoye Cemetery: Historical Monument of Moscow
• Paris's Père Lachaise Cemetery: History and Significance
• The Catacombs of Paris
• An ordinary Russian cemetery: traditions and customs

Cemeteries have become a key element in the world of horror and thrillers. Their ominous tombstones, cold crypts, and empty crematoriums have repeatedly served as the backdrop for films of this genre, dating back to the silent film era. Sometimes real cemeteries could be seen on screen—such as those in Moscow, Paris, or even ancient Egypt.

On the eve of Halloween, film critic Yegor Sheremet shares his memories of the most memorable films featuring cemeteries—from a famous zombie horror to a dark Soviet drama from the perestroika era. Cemetery researcher Margarita Nikolaeva also shares information about the locations where the events of these films unfold.

In this article, we will discuss cemeteries that:

• have been converted into protected areas for unique species of flora and fauna.
• have been converted into concert venues;
• resemble dense forests;
• have been converted into resting places for the remains of six million people.

A specialist in the study of pre-revolutionary cemeteries in Russia, the initiator of the educational project whatiscemetery and the author of a book called "Necropolises of St. Petersburg".

Pennsylvania's Evans Cemetery: History and Meaning

"Night of the Living Dead", released in 1968 under the direction of director George A. Romero, is a cult horror film.

Siblings Barbara and Johnny set off on a long-awaited trip to visit their father's grave, lost in the woods of Pennsylvania. However, the quiet cemetery, with its neat rows of well-kept graves, soon turns into the arena of a tense struggle - they are suddenly attacked by a pale man in a worn-out suit. A few minutes later, entire crowds of the risen dead join this attack - half-rotten zombies begin to crawl out of the cemetery ground.

George Romero's independent horror film launched the zombie genre. It's no surprise that one of the first stories about the merciless dead takes place in a cemetery—as if the director was trying to dissuade Americans from visiting secluded necropolises. Following the film's stunning success, Evans Cemetery has become a veritable mecca for horror fans: hundreds of fans flock to Pennsylvania to see the graves depicted in the film. Interestingly, Romero filmed the opening scenes without prior permission from local authorities—he simply didn't have the money to process the necessary paperwork.

Evans Cemetery, founded in 1846 by lawyer and philanthropist Charles Evans, has become the final resting place for all residents of Reading, regardless of their religious beliefs.

The owners of the cemetery take an unusual approach to its organization and maintenance. For them, it is extremely important not only to care for the improvement of the territory, but also to preserve the natural landscape. On the official website of the administration you can find information about the flora and birds inhabiting the necropolis. This allows the cemetery to be perceived as another public space in the city, which helps to reduce the stigma associated with both burial sites and the topic of death in general. Overall, our cemeteries and society as a whole have a lot to learn.

Evans Cemetery was founded in 1846 by a lawyer and philanthropist named Charles Evans. This place has become accessible to all residents of Reading, regardless of their religious beliefs.

The owners of the cemetery take a remarkable approach to its organization and maintenance. Preserving the natural landscapes and keeping the grounds in good condition are extremely important to them. On the administration website, you can find information about the trees growing on the necropolis grounds, as well as the birds that inhabit this place. This approach allows the cemetery to be perceived as another urban space, which contributes to a change in attitudes towards necropolises and death in general. In general, our cemeteries and society as a whole have a lot to learn from this approach.

London's Highgate Cemetery: Mysteries and History

"Taste the Blood of Dracula" is a 1969 film created under the direction of director Petr Shashdi.

Count Dracula has left this world, but his supporters live on. A vial of infected vampire blood ends up in the hands of a young aristocrat who passionately dreams of becoming an assistant to a Transylvanian count. To bring an ancient vampire back to life, a young Satan worshiper decides to drink Dracula's blood, which again leads to a wave of brutal murders in London at night.

In the 1960s, rumors of the "Highgate vampire" circulated on the streets of London - visitors to the abandoned cemetery claimed to have seen a mysterious dark figure among the graves. It's no surprise that director Peter Szaszdy decided to tap into this urban mythology: the fourth installment of the Count Dracula saga, produced by Hammer Film, was filmed against the backdrop of Highgate Necropolis. Unfortunately, even the location shooting couldn't save the mediocre script of the sequel, in which Christopher Lee once again plays the famous vampire—the film is worth watching for the cemetery scenes alone. Nevertheless, Shashdi's scenes set in the gloomy alleys of Highgate are surprisingly atmospheric: you can feel the icy chill in the air as you walk through the foggy corners of this place.

Highgate has become one of the most famous cemeteries included in the group of "Magnificent Seven" - necropolises created in the vicinity of London in the 19th century. This cemetery is divided into two parts: western and eastern, which differ from each other in architectural features. The western section is replete with grand crypts in a variety of styles, while the eastern section is adorned with more modest monuments.

Highgate offers tours, and sometimes offers free admission to local residents. Concerts and theatrical performances are also held in the cemetery's chapel. Overall, everything possible is being done to demonstrate that a cemetery can become an integral part of the urban environment, along with the usual parks, museums, shopping centers and residential complexes.

Highgate was one of the famous cemeteries known as the "Magnificent Seven", which were founded in the vicinity of London in the nineteenth century. This necropolis is divided into two zones—western and eastern—each distinguished by its own architectural style. The western zone is renowned for its variety of magnificent crypts, built in various architectural styles, while the eastern zone is characterized by more modest monuments.

Highgate offers tours and often offers free admission to local residents, meaning those who live in the surrounding area. Concerts and theater performances are also held in the cemetery's chapel. Overall, the site demonstrates that cemeteries can become an integral part of the urban environment, competing with the usual parks, museums, shopping centers, and residential complexes.

Tomb DB-320 in ancient Deir el-Bahri, Egypt

"The Secret of the Kharabat Tribe," published in 1969 under the direction of Shadi Abdel Salam, is a significant work.

At the end of the 19th century, the inhabitants of the Egyptian village of Qurnah are not particularly concerned with the legacy of their ancestors. Bedouins, who plunder ancient tombs, shamelessly offer unique artifacts to Western collectors. However, the usual order begins to change after the death of the tribal leader: his son decides not to follow the path of looting and tries to convince the local residents to respect the peace of the deceased. However, the greedy Bedouins have no intention of giving up their lucrative occupation.

"The Secret of the Kharabat Tribe" is a "cemetery" cinema, but in a very original setting. Director Shadi Abdel Salam's historical work touches on the profound trauma endured by the Egyptian people. Thousands of cultural heritage sites were stolen and transported outside the country, and local tomb robbers bear a significant share of the blame for this. Salam chose the ruins of ancient temples and burial complexes for filming, thanks to which every frame of his auteur film is permeated with the atmosphere of antiquity.

Many of us have a general idea of ​​​​the funerary customs of Ancient Egypt, and, perhaps thanks to encyclopedias, I understood the rituals and beliefs of the Egyptians better than those of my contemporaries. Of course, Egyptian culture is much more multilayered and diverse than it might seem from children's books - for example, it is worth mentioning the Fayum portraits. These works of art are one of the few finds that have survived to this day. Encaustic portraits are created using wax as a binder for paints. During the Roman Egyptian period (1st–3rd centuries), influenced by Greco-Roman culture, these portraits began to replace traditional funerary masks on mummies. The unique interweaving of Greco-Roman painting and Egyptian customs reflected in these funerary images allows us to better understand the appearance of the inhabitants of the Fayum of that era.

Many of us are familiar with the funerary customs of Ancient Egypt, and, as it seems to me, thanks to children's encyclopedias, I acquired a clearer understanding of the rituals and beliefs of the ancients Egyptians than their contemporaries. However, the culture of Ancient Egypt is far more multilayered and diverse than it is portrayed in children's literature. For example, the Fayum portraits are just one of the unique artifacts that have survived to this day. These works are created using the encaustic technique, which uses wax as a binder for paints. During the Roman period in Egypt (1st–3rd centuries), under the influence of Greco-Roman culture, such portraits began to replace the earlier funerary masks used on mummies. The fascinating fusion of Greco-Roman and Egyptian elements reflected in the funerary portraits reveals the lifestyle of the Fayum inhabitants of that time.

The Necropolis of the Madeleine in Amiens

"The Iron Rose" is a film released in 1973 under the direction of Jean Rollin.

A young couple in love decide to spend time outdoors. They chat cheerfully, laugh, and enjoy the amazing scenery of the French countryside. At the end of their walk, they find themselves in an old cemetery, and, filled with excitement, decide to end the evening on a bright note by making love in an abandoned crypt. However, their romantic adventure turns into a nightmare when they find themselves stuck in a mysterious necropolis. Strange shadows begin to haunt them, and all exit routes are blocked.

The Iron Rose is an experimental Eurotrash film directed by Jean Rollin, set in the overgrown Madeleine cemetery in Amiens. This master of French horror artfully evokes fear in audiences without resorting to jarring scenes or violence. Instead, it immerses us in a dark, mysterious atmosphere filled with surreal elements, creating a feeling of constant unease. Lovers of cemetery aesthetics should check out this film if only to appreciate how Rollin lovingly captures leaning tombstones and crumbling crypts, turning the Gothic cemetery into a kind of protagonist in the story.

The Madeleine Cemetery began its history in 1817 and continues to serve as a final resting place to this day. Some of its sections appear neglected and covered with wild vegetation, but it is precisely in such a place that the grave of the famous writer Jules Verne, who passed away in 1905, is located. If it weren't for the monuments, Madeleine would resemble a real forest: with trees entwined with vines and ivy, as well as clearings and thickets of bushes.

The Madeleine Cemetery began its history in 1817 and continues to function for burials to this day. Some of its sections appear extremely neglected and overgrown, but it is in such areas that you can find the grave of the famous writer Jules Verne, who died in 1905. If it weren't for the tombstones, this place would resemble a dense forest, in which the trees are entwined with vines and ivy, and between them there are clearings and dense thickets of bushes.

Lutheran Cemetery in Smolensk: History and Significance in St. Petersburg

"Mr. Designer", released in 1988, is a film created under the direction of director Oleg Teptsov.

Set designer Platon Andreevich is convinced of the power of art: by creating sculptures depicting ordinary people, he strives to give them eternity. His work is deeply emotional, born of loss—many years ago, his beloved died of tuberculosis. He attempts to bring his inspiration back to the world of the living and unexpectedly encounters her exact duplicate, who finds herself in the company of a mysterious new husband. Platon Andreevich gradually begins to lose his mind.

A hallucinogenic journey through the backstreets of St. Petersburg in the Art Nouveau era became the full-length debut of underground director Oleg Teptsov. The morbid aesthetics of the Silver Age blend harmoniously with the complex script written by Yuri Arabov and the bold musical score by avant-garde artist Sergei Kuryokhin. In Teptsov's creative world, the cemetery symbolizes a world slowly fading. The graves of the Smolensk Lutheran Cemetery are overgrown with green weeds and go unnoticed by the "progressive" residents of St. Petersburg. Only the artist in love, played by actor Viktor Avilov, feels uneasy in this eternal peace.

Smolensk Lutheran Cemetery is one of the oldest non-religious cemeteries in St. Petersburg. In the past, it was called the German Cemetery, but not only German Lutherans found their final resting place here, but also representatives of other nations, such as the British, Spanish, Portuguese, Italians, and French. The cemetery opened in the first half of the 18th century, and in the 20th century it was closed and reopened for burials several times. Since 2018, the cemetery has been designated a regional cultural heritage site, resulting in a near-total absence of modern burials within its boundaries.Despite its "foreign" nature, the Smolensk Lutheran Cemetery is not a typical European burial ground, due to the significant influence of the prevailing Russian culture. Nevertheless, its appearance is still noticeably different from most historical cemeteries in Russia, which likely explains its frequent appearance in Soviet and contemporary films. For example, if you rewatch "The Decorator," you'll notice the cemetery's dilapidated main alley, which has now been restored. Along the entrance to the right stood a wooden "anteroom" near the crypt of Elizaveta Chichagova, which no longer exists but once served as a repository for cemetery inventory. Above the closed entrance to the crypt, a bas-relief has been preserved depicting symbols of death and loss - a broken flower, a scythe, and a moth, as well as an illegible inscription in English: "My bliss for ever I have buried here the 24th of July 1811," which is a dedication left by a grieving husband.

Smolenskoye The Lutheran Cemetery is one of the oldest necropolises in St. Petersburg, belonging to non-Orthodox traditions. Originally called the German Cemetery, it was the final resting place of not only German Lutherans but also representatives of other nationalities, such as the English, Spanish, Portuguese, Italians, and French. Opened in the first half of the 18th century, the cemetery was periodically closed and reopened for new burials throughout the 20th century. In 2018, it received the status of a regional cultural heritage site, which led to a significant reduction in the number of modern burials within its grounds. Despite its "foreign" nature, the Smolensk Lutheran Cemetery is by no means a classic example of a European burial site: it has been significantly influenced by the prevailing Russian culture. Nevertheless, its appearance still stands out among most historical cemeteries in Russia, which likely explains its frequent appearance in Soviet and modern films. When viewing "The Master Decorator" again, it's worth noting the cemetery's dilapidated central alley, which has since been restored. Also unmissable is the wooden "anteroom" near Elizaveta Chichagova's crypt, located directly at the entrance on the right—although now dismantled, it was formerly used to store cemetery inventory. Above the closed door of the crypt, a bas-relief depicting symbols of death and loss—a broken flower, a scythe, and a butterfly—has been preserved, along with an illegible inscription in English: "My bliss for ever I have buried here the 24th of July 1811," a dedication from her grieving husband.

Vvedenskoye Cemetery: A Historical Monument of Moscow

"A Modest Cemetery" (1988), directed by Alexander Itygilov

The director of a "respected" cemetery decides to make a little money and puts an old grave up for sale, setting a price comparable to that of a new plot of land. A worker named Sparrow is responsible for the process of exhuming the remains of the previous owner. When the director's deception becomes apparent, all responsibility falls on the unfortunate Sparrow. In despair, he decides to commit suicide, but cannot find the right moment - there is plenty of work at the cemetery.

The late 1980s saw a flourishing of Soviet "cemetery cinema," made possible by relaxed censorship. This gave impetus to a new wave of filmmakers eager to experiment with moral norms. Unsurprisingly, many of them turned to the symbolic image of the cemetery, which occupies a prominent place in Russian culture. In addition to "The Decorator," Alexander Itygilov also embraced this dark aesthetic in his somber drama "The Humble Cemetery." This film, which chronicles the struggles of laborers, was shot against the backdrop of the oppressive graves of Moscow's Vvedenskoye Cemetery. You can see familiar faces in the film: one of the significant roles in it was played by Viktor Avilov, known as "Mr. Designer."

Vvedenskoye Cemetery in Moscow opened its doors in 1771, when the city faced a plague epidemic. Over time, this place became one of the cemeteries for non-believers, and starting in 1917, people began to be buried here regardless of their religious affiliation. Thus, on its territory you can see tombstones dating back to the early 19th century and modern monuments. Moreover, pre-revolutionary gravestones are used not only to mark graves but also as paving elements for cemetery paths.

Vvedenskoye Cemetery is famous for its many mystical legends, but its history is also full of interesting facts. Few people know that the Smolenskoye Lutheran and Vvedenskoye Cemeteries share something in common: neoclassical tombstones, crafted in the shape of a semi-rotunda by the St. Petersburg master Karl Guidi. In addition, at the Moscow cemetery you can see a mosaic image inspired by the famous painting by Arnold Böcklin "Isle of the Dead".

The Vvedenskoye Cemetery in Moscow was founded in 1771 at the height of the plague epidemic. Over time, it became one of the city's cemeteries for non-believers, and since 1917, people have been buried there, regardless of their religious affiliation. Thus, tombstones dating back to the early 19th century stand alongside modern monuments, and pre-revolutionary slabs can be found not only on graves but also used as paving slabs in the alleys. Vvedenskoye Cemetery is surrounded by numerous mystical legends, but beyond these, interesting historical facts can also be discovered. Few people know that the Smolenskoye Lutheran Cemetery and Vvedenskoye Cemetery share one common feature: they both feature neoclassical tombstones in the shape of a semi-rotunda. These monuments were created by the St. Petersburg artist Karl Guidi. In addition, a mosaic inspired by Arnold Böcklin's painting "Isle of the Dead" has been preserved at a Moscow cemetery.

Père Lachaise Cemetery in Paris: History and Significance

"Holy Motors" is a film released in 2012 under the direction of Leos Carax.

A mysterious figure wanders the streets of Paris, constantly changing forms: this multifaceted character can take the forms of both men and women, the homeless and the wealthy, the elderly and movie stars. Interacting with this entity promises only trouble: a bearded creature dressed in a green corduroy suit haunts the townspeople even in the famous Père Lachaise Cemetery - it eats flowers, emits piercing screams, and makes grimaces. Yet, his every move betrays a profound loneliness—is there still a chance to save him?

Retelling the plot of the film "Holy Motors, Inc.", directed by Leos Carax, is a task that requires special attention. This French film, steeped in surrealism, keeps viewers on edge throughout its runtime. The main character, brilliantly played by Denis Lavant, constantly changes, moving from one iconic Parisian location to another. One of the most shocking scenes is his walk through Père Lachaise Cemetery. This famous necropolis of France serves as a backdrop for the aggressive and eccentric actions of Laban, who, dressed in makeup, wanders between the graves with a frightening smile on his face.

Père Lachaise Cemetery was founded at the beginning of the 19th century at some distance from Paris, which initially did not contribute to its popularity. To change this situation, the remains of such famous figures as the medieval philosopher Pierre Abelard and his student Heloise, as well as the writer Jean de La Fontaine and the playwright Moliere, were reburied in the new cemetery. However, it is worth noting that there is doubt about the authenticity of these remains. However, this did not affect the reputation of Père Lachaise – the cemetery acquired the status of one of the main necropolises of Paris, becoming the final resting place for many outstanding figures of culture and art.

It is interesting that eight decades later, in 1885, the Parisian authorities, having learned about the creation of two suburban cemeteries (Preobrazhenskoye and Uspenskoye) in St. Petersburg, to which railway lines were laid from the train stations, turned to their St. Petersburg colleagues for information. However, it is unlikely that residents of St. Petersburg could share valuable experience with Parisians, since none of these cemeteries ever gained popularity among residents of the Russian capital.

Père Lachaise Cemetery was founded at the beginning of the 19th century and was initially located at a considerable distance from Paris, which affected its popularity. To attract attention and increase interest in the new necropolis, the remains of the medieval thinker Pierre Abelard and his student Héloïse, as well as the famous writer Jean de La Fontaine and the playwright Molière, were reburied here. However, doubts remain about the authenticity of these remains. Nevertheless, this has not affected the reputation of Père Lachaise, which has become one of the most significant cemeteries in Paris, the final resting place of many famous figures in the fields of culture and art. Interesting fact: eighty years later, in 1885, Parisian authorities, having learned of the creation of two suburban cemeteries in St. Petersburg—Preobrazhenskoye and Uspenskoye—connected by railway lines from the train stations, contacted their St. Petersburg counterparts for information. However, it is unlikely that the people of St. Petersburg could share anything useful with the Parisians, since none of these cemeteries have gained popularity among locals.

The Catacombs of Paris

"Paris: City of the Dead" (2014) is a film created under the direction of director John Erick Dowdle.

An archaeologist named Scarlett has an unquenchable passion for solving the mystery of the philosopher's stone, a mythical object capable of granting a person eternal life. After many years of persistent research, Scarlett finally found the treasured clue: medieval alchemists may have hidden this stone in the catacombs of Paris. Inspired by the discovery, she gathers a team of volunteers and heads deep into the largest crypt on the planet, the walls of which seem to be woven from bones of human origin.

The mockumentary horror film "Paris: City of the Dead" offers a unique opportunity to "dive" into the narrow passages of the famous Parisian catacombs, which contain the remains of over 6 million people. The French government granted director John Erick Dowdle exclusive access to this underground necropolis: the film crew worked in closed sections of the catacombs, which are inaccessible to tourists. Endless rows of skulls and piles of bones evoke a deeper fear than the usual jump scares - the actors were clearly uncomfortable being in the same frame with the remains of Parisians.

The question of the origin of the bones in the Paris catacombs is connected with the need to solve the problem of overcrowded cemeteries. From the late 18th to the mid-19th centuries, unattended remains were transferred to underground corridors that previously served as Roman quarries. Currently, part of these tunnels and the ossuary itself, where the bones are kept, are part of the Carnavalet Museum, dedicated to the history of Paris, and are open to the public. To make the tour more engaging, the tunnels are decorated with plaques containing religious and secular texts, as well as individual quotes. Visitors are greeted by the iconic sign: "Stop, this is the kingdom of death."

If you find the decision to place the remains in Paris strange, you should check out Sedlec in the Czech Republic.

What led to the appearance of bones in the Parisian catacombs? This phenomenon is associated with the need to solve the problem of overcrowded city cemeteries. Between the late 18th and mid-19th centuries, unclaimed remains were moved into the underground corridors that once served as Roman quarries. Today, some of these tunnels, as well as the ossuary—a bone storage area—are part of the Carnaval Museum, dedicated to the history of Paris, and are open to the public. To make the tours more engaging, plaques with various religious and secular texts, as well as individual quotes, have been installed in the tunnels. Visitors are greeted by an impressive sign: "Stop, this is the kingdom of death."

If you think the idea of ​​placing remains in Paris is unusual, then you are not familiar with the Czech Sedlec.

An ordinary Russian cemetery: traditions and customs

"The Guy from Our Cemetery" (2015) is a film created by brothers Ilya and Anton Chizhikov.

Kolya is facing serious difficulties: he needs to repay a large debt, but he cannot cope with finding a profitable job. In search of a solution, the guy decides to repeat his grandfather's path and gets a job as a night security guard at an abandoned cemetery. It would seem that the job is not difficult, but in practice it turns out to be a real nightmare: local criminal elements "protect" this place, and strange characters appear among the graves at night. Our hero's nerves begin to fail, and he gradually begins to believe in the possibility of resurrection of the dead.

"The Guy from Our Cemetery" is a film that balances on the brink of provocation. Directors Ilya and Anton Chizhikov risked everything by choosing an ordinary Russian cemetery as the backdrop for their black comedy – an idea that may seem risky. The creators confidently rejected claims of violating sacred space and mocking the monuments of real people: to implement their project, they erected several dozen "pseudo-graves," essentially creating their own cemetery. Ultimately, this underrated horror film manages to capture both a believable atmosphere and a strong dose of dark humor.

The cemetery is an interesting combination of the image of a typical American necropolis, as we see it in films and television series, and the Russian tradition of historical burials. On its grounds you can see Catholic crosses, classic urns on pedestals, popular in the 18th century, as well as tombstones in the form of small chapels, known as "kaplichitki", which appeared in the 19th century. Here you can also see typical American monuments—low stone fences, Soviet-era steles framed by metal fences, and, of course, modern black granite headstones. All these elements together create a strange and artificial impression: Russian cemeteries don't offer such a diversity of styles and cultural traditions, nor such significant distances between graves. This can be regarded as a missed opportunity for income!

The cemetery is an interesting combination of a traditional American necropolis, as we can see in films and on television, and the Russian experience of historical burials. This area juxtaposes Catholic crosses, classic urns on pedestals popular in the 18th century, and tombstones in the shape of small chapels, known as "kaplichki," which began to appear in the 19th century. Also found here are characteristic American monuments—low stone fences, Soviet steles in metal frames, and, of course, modern black granite monuments. The entire composition appears strange and unnatural: Russian cemeteries rarely exhibit such a diverse range of styles and cultural influences, nor such significant distances between graves. This is clearly a lack of income!

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