Dr. Hess Green, an archaeologist overseeing an excavation at the ancient civilization of Myrthia, is stabbed by his research assistant, who then commits suicide. When Hess wakes up, he finds that his wounds have healed, but he now has an insatiable thirst for blood, due to the knife carrying ancient germs. Soon after, Hess meets his former assistant's wife, Ganja. Though Ganja is initially concerned about her missing husband, she soon falls for Hess. Though they are initially happy together, Ganja will eventually learn the truth about Hess, and about her husband. Will she survive the revelation? Will Hess?
Ganja and Hess is a landmark film in so many ways. It is a remarkable achievement technically and in terms of fractured narrative. It is a remarkable addition to the African-American cannon of film. It is a remarkable boundary crossing experiment, aggressively combining elements of the blacksploitation horror film with the "art" film. Ganja and Hess is a vampire movie that says more about African-American history, sexual politics, capitalism and its relation to sexuality, colonialism and identity and spirituality than most other films
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