Borgman

Borgman is a prime example of the difference between Mainstream Hollywood and European Cinema. Movies that don't tie up loose ends and force feed the audience. Movies that pay respect to the intelligence of the viewer. Borgman never really explains anything during the movie which will put a lot of people off, but if you are prepared to look at the minor details, you will appreciate the film for what it is, a deeply psychological look at social classes and many other elements that will get the audience thinking and ultimately form a discussion. With some truly unsettling scenes being complimented by dry humour, Borgman gives off a certain charm that will captivate the viewer right through the two hour running time! Great acting performances along with some surreal images gives Borgman that unique and creative edge, within a world of movies that lack anything new!

This film seemed to come out of nowhere, similar to the way Camille Borgman did. I am a long time fan of the horror/dark drama genre but a new member to IMDb. with that being said, I absolutely loved this film. I loved the darkness to Camille. What was with him living in the ground though? The movie never fell back on that fact nor did it have an explanation for it. I wouldn't say the viewing nature of this film is horror, but the concepts that the film holds are horror. The ideas are extremely dark and the violence is extreme. This is an atmospheric movie that sets quite the mood. It had me thinking about it for a few days after seeing it. It's one of the better movies I've seen this past year

One of the best films of the Philadelphia Film Festival, Borgman is a hilarious, darkly satirical, mysterious, sexy, fascinating, and surreal allegory for social upheaval.

In the beginning, there was armed men looking to kill underground hobos. We will never find out why they want to kill them or why the hobos are underground (or why the hobos have nice cellphones). One of them, Camiel Borgman, escapes and warns his friends. He washes himself at a gas station and begins wandering down an extremely affluent street with the intention of getting a proper bath in one of them, simply by asking at the front door. One house in particular strikes his fancy, and he begins a slow process of worming his way into the household and the lives of everyone who lives there.

But that's when things get REALLY strange.

This film is destined for hopefully a good deal of international attention in the art-house circuit due to its exceptional storytelling, unpredictability and very weird plot.

With the matter-of-fact way it presents absurd goings-on, it reminded me of Dogtooth a little.

Borgman is not a vagabond or a homeless, but the evil, the Antichrist itself. He emerges from under the ground with his followers when the local priest and some helpers try to destroy them. They manage to escape and set out on a journey to capture new souls. Borgman is not interested in money or wealth, not interested in seducing women or hurting children. He could get it all if only he wanted to. His only interest is to bring out the evil residing in all humans - men, women, children. He manipulates, sedates or kills people when it is necessary, but it is not a goal, just a tool for him. When he finds a potential follower, he marks him or her with a stigma on their backs. He does a perfect job with an upper-class family turning the family members, the babysitter and her boyfriend against each other, uncovering their worst thoughts and desires. Borgman ends up by capturing new followers, and abandons the beautiful house by cleaning up any traces of his terrible deeds. The movie is surrealistic, full of symbols related to the Bible, and lightened up with lots of spooky humor. It does have a clear plot and a full ending, and undoubtedly makes one wonder about his/her own inner dark side.

Borgman is queer piece of cinema, challenging right form the off with the opening scenes of pursuit which point in a certain direction, but be prepared for your feelings to change as the story progresses. Writer / director Alex van Warmerdam's film bars very few holds, and yet it does not sensationalise increasingly troubling and occasionally brutal events, presenting them in a frank and open way, inviting the viewer to judge the participants and their respective fates. You would do well to prepare yourself to feel little sympathy for any of the characters, and yet there is something compelling about the spartan direction and the economy of the performances that will hold your attention to the end. Jan Bijvoet as the titular Camiel Borgman and Hadewych Minis as Marina are stand-outs, and deserve to be seen by a wider audience. One possible conclusion is that Warmerdam's script presents a black-and-white position in reaching a verdict, but in reality there are Lynchian levels of grey and plenty of scope for interpretation over a glass of wine (or two) afterwards. Well worth seeking out for those of a less delicate sensibility.