The unpredictable mechanics of evil have rarely been as captivating as they are in Alex Van Warmerdam’s Borgman. Premiering last year at Cannes, our very own Dustin Jansick saw it during his coverage of the festival (read his initial thoughts here) and was, unsurprisingly, compelled by its strangeness. Having finally seen public release earlier this month in the U.S. from Drafthouse Films, Borgman will be welcomed onto Canadian soil to tease, lure, and most-likely frustrate the hell out of Canadian audiences on July 4^th. Populating the camp of frustrated moviegoers will be those who need an end to the means in their narratives, and a purpose to guide them through the mystery. But one of the many things Borgman does so well, if you invite it into your conscious, is make the means so damn beguiling that you stop caring about the ends half-way through the film.

Van Warmerdam wastes absolutely no time in kick starting the action. A posse of rural hunters, led by a priest, gather and go into the forest. They come upon a hollow patch of earth and start stabbing it with a spear. This is the hideout of Camiel Borgman (Jan Bijvoet), who has made something of a cozy nest for himself, and who isn’t in the least bit surprised that he is being hunted. He gathers his things, quickly disappears through a dug out tunnel, and starts alerting his fellow underground dwellers Pascale (Tom Dewispelaere) and Ludwig (Van Warmerdam) to the dangers.

Camiel finds himself in a middle-to-upper class suburban neighborhood and starts going door-to-door, asking for a bath because he looks (and probably smells) like he’s been living underground for weeks. After being turned down at the first home, he tries the next, which belongs to Richard (Jeroen Perceval) and Marina (Hadewych Minis), a well-to-do couple who have three well-behaved children and a well-mannered nanny to take care of them. Richard answers the door and politely declines entry, but starts to get irritated when the vagabond doesn’t seem to get the message and, what’s more, claims to know Marina (although he calls her Maria and remembers her as a nurse.) Not being able to control himself, Richard beats Camiel up and violently shoves Marina back into the house.

We’re not even 15 minutes into the film here, and Van Warmerdam has commanded complete attention. The wordless preparations for the hunt, the priest, the underground hideouts, the escape, the confrontation between Richard and Camiel, and Camiel’s memory of Marina as Maria the nurse are balanced with the bizarre comedic effects of seeing a spear puncture eggs, a hairy Bijvoet nonchalantly asking for baths, and the reactions of Ludwig and Pascale who look like the most ordinary of fellows if it wasn’t for them sleeping under the ground. This is how Borgman builds the insatiable desire to make you want to know what happens next, and it only grows from there as the film starts to contort into its dark and twisted narrative. When Richard goes to work, Camiel finds a way to enter the house unsuspected, but Marina finds him and allows him the bath he’s been wanting. There is something that persuades her to help this man out, and she allows him to rest for a few days in their nearby guesthouse. As Marina is slowly drawn to Camiel, she starts to have nightmares about her husband’s violence, and just like that her well-to-do facade has cracked open to invite a mysterious presence, which will slowly upend her whole way of life.

In his Director statement during last year’s Cannes, Van Warmerdam says he wanted to “descend into the unknown, dark part of my imagination and see what would be found there.” Indeed, if you can point to one thing that makes the film such an alluring piece of cinema is its originality. Written by the director, Borgman has splashes of influence from Dutch folklore, Descartes’ concept of the evil genius, and Machiavellian distinctions of truth and power, but it is essentially its own beast. The tension simmers ever loudly as buckets of cement, wandering Great Danes, mysterious scars, and Marina’s powerless submissions are all part of the puzzle, enticing us further and further into the nightmarish rabbit hole of Borgman’s world. What stops Borgman from reaching the kind of cinematic euphoria its two acts build toward, is that after the final act, it does inevitably leave you wanting. The ends may not matter, but with a muddled purpose the film bites off more than it can chew by the time it’s all over.

Nevertheless, supremely crafted suspense like this doesn’t emerge very often. The comparisons to David Lynch, Michael Haneke and Yorgos Lanthimos are well met. I’ll throw another one in the mix as well; Lars Von Trier. Van Warmerdam’s ability to disturb the natural order of things in Borgman recall edge-of-the-seat intrigue in films like Antichrist, except that Borgman’s aesthetics are much more sunny, clean, and polished, making the subject-matter that much more appealing. With commanding performances from Bijvoet, Minis and Perceval, a structure that is an exemplary study in economic pacing, and a story that has all the appeal of seductive myths, Borgman will end up as one of the most original and captivating dark stories to emerge this year.

Alex van Warmerdam’s wonderfully bizarre film Borgman made its world premiere last year at Cannes. Trailer does a great job of capturing the strange nature of the film that is somewhat of a cross between Holy Motors and Dogtooth with a home invasion element similar to Funny Games. The film is a dark and twisted joy ride full of manipulation and murders.

The film follows a homeless looking man who swindles his way into the home an upper class family, instilling chaos into the lives of the entire family.

Borgman will be released by Drafthouse Films on June 6th. Read my initial reaction to the film.

Watch Borgman trailer

Easily my favorite program of the Toronto International Film Festival each year is the Vanguard program. This TIFF program aims to be “provocative cinema that defies convention”, which features films that have an unique look and feel to them. Essentially, Vanguard shares similar aspirations as the Un Certain Regard section at Cannes. Having said that, Alex van Warmerdam’s odd-ball film Borgman actually played In Competition at Cannes (we enjoyed the film), but should make a great fit in Vanguard for TIFF. Some other noteworthy titles in the Vanguard lineup this year are Ti West’s The Sacrament and the French duo who made Amer (Hélène Cattet and Bruno Forzani) are back with The Strange Color of Your Body’s Tears.

2013 has already been a pretty solid year for documentaries (Valentine Road, Stories We Tell, The Act of Killing), but TIFF Docs should contain even more great titles from around the world. This year the program includes; the latest from Errol Morris entitled The Unknown Known, a few titles from Cannes (Jodorowsky’s Dune, The Last of the Unjust, and The Story of Children and Film), and well as Frederick Wiseman’s At Berkeley.

Check out the fill lineup for the Vanguard and TIFF Docs programs below.

Vanguard lineup

Blue Ruin [Jeremy Saulnier] USA – North American Premiere
A classic American revenge story, Blue Ruin follows a mysterious outsider whose quiet life is turned upside down when he returns to his childhood home to carry out an act of vengeance. Finding himself in a brutal fight to protect his estranged family, he proves to be an amateur assassin. Starring Macon Blair.

Borgman [Alex van Warmerdam] The Netherlands/Belgium/Denmark – North American Premiere
Borgman is the central character in Alex van Warmerdam’s dark, malevolent fable. Is he a dream or a demon, a twisted allegory or an all-too-real embodiment of our fears? Borgman is a sinister arrival in the sealed-off streets of modern suburbia. His presence unleashes a crowing gallery of distortion around the careful façade constructed by an arrogant, comfortable couple, their three children and nanny. Starring Jan Bijoet, Jeroen Perceval and Hadewych Minis.

Celestial Wives of the Meadow MariAlexey Fedorchenko, Russia Canadian Premiere
Comprised of 23 vignettes illuminating the pagan-influenced mores of western Russia’s Meadow Mari, the latest film from director Alexey Fedorchenko (Silent Souls) is a beguiling, painterly portrait of a culture driven by a ritualistic appreciation of female beauty and feminine sexuality.

The Fake [Yeon Sang-ho] Korea – World Premiere
A rural village is determined to be submerged and its residents are compensated for relocation. A swindler named Choi deceives the poor villagers with false religion to make them give up their compensations as church offerings. Min-chul, an infamous local good-for-nothing waster, discovers the truth, but he is unable to convince anyone; especially against Reverend Sung, who is revered by the people, but who in fact is someone Choi scouted to serve his purpose. When Min-chul’s own faithful daughter is forced into prostitution by these fakes, he sets out to get even.

Horns [Alexandre Aja] USA – World Premiere
Horns, a supernatural thriller driven by dark comedy, mystery and romance follows Ignatius Perrish as he awakens after a hard night of drinking to find he has grown a pair of horns. In addition to his devilish appearance, the horns cause people to fall into a trance and voice their most unspeakable thoughts, an effective tool in Ig’s quest to discover the truth of his girlfriend’s murder. Starring Juno Temple and Daniel Radcliffe.

People In Places(Gente En Sitios) [Juan Cavestany] Spain – World Premiere
This kaleidoscopic film weaves together approximately 20 fragmented scenarios that offer a view of contemporary Spain, drawing conclusions about the persistence of the human condition, strangeness, and the chaos within relationships. Starring Raul Arevalo, Eduard Fernandez and Santiago Segura.

Proxy [Zack Parker] USA – World Premiere
While walking home from her latest OB appointment, a very pregnant Esther Woodhouse is brutally attacked and disfigured by a hooded assailant. This horrible event seems to be a blessing in disguise when Esther finds consolation in a support group. Her life of sadness and solitude is opened up to friendship, understanding, and even acceptance. However, friendship and understanding can be very dangerous things when accepted by the wrong people.

The Sacrament [Ti West] USA – North American Premiere
From acclaimed writer/director Ti West (The House of the Devil, The Innkeepers) and horror master Eli Roth (Hostel, Cabin Fever, The Last Exorcism), The Sacrament follows two Vice media correspondents as they set out to document their friend’s search to find his missing sister. They travel outside of the United States to an undisclosed location where they are welcomed into the world of “Eden Parish,” a self-sustained rural utopia comprised of nearly 200 members. At the centre of this small, religious, socialist community is a mysterious leader known only as “Father.” As their friend reunites with his sister, it becomes apparent to the newcomers that this paradise may not be as it seems. What started as just another documentary shoot soon becomes a race to escape with their lives. Starring Joe Swanberg, AJ Bowen, Kentucker Audley, Amy Seimetz and Gene Jones.

Sapi [Brillante Mendoza] Philippines – World Premiere
With the rival station Philippine Broadcasting Channel (PBC) eating up the TV audiences’ major share, Sarimanok Broadcasting Network (SBN) needs a miracle to stay alive in the competition. In these mad and fearful times, SBN’s news team finds that documenting an actual spiritual possession would be their only hope.

Sex, Drugs & Taxation (Spies & Glistrup) [Christoffer Boe] Denmark – International Premiere
Sex, Drugs & Taxation is based on the true story about the spectacular friendship between two of the most notorious and provocative men in 1960s Denmark: the eccentric lawyer-turned-politician, Mogens Glistrup, and the ‘travel king’, millionaire, womanizer and public provocateur, Simon Spies. Starring Pilou Asbæk, Nicolas Bro and Jesper Christensen.

Soul [Chung Mong-Hong] Taiwan – International Premiere
A-Chuan, a quiet 30-year-old man working as a chef in a Japanese restaurant, collapses suddenly and is rushed to a hospital. His colleagues send him to his father, who resides in the mountains. While there, A-Chuan becomes immobile: he won’t speak, eat or even go to the toilet on his own. One day his father returns from work only to find A-Chuan sitting in the corner with his daughter lying dead in a pool of blood. In an unfamiliar, eerily calm voice, A-Chuan says, “I saw this body was empty, so I moved in.”

The Strange Color of Your Body’s Tears [Hélène Cattet and Bruno Forzani] Belgium/France/Luxembourg – North American Premiere
A woman vanishes. Her husband inquires into the strange circumstances of her disappearance. Did she leave him? Is she dead? As he continues his search, he plunges into a world of nightmare and violence… Starring Klaus Tange, Jean-Michel Vovk, Sylvia Camarda, Sam Louwyck and Anna D’Annunzio.

Thou Gild’st the Even [Onur Ünlü] Turkey – North American Premiere
Man is created of anxiety. —Euripides
In a small Anatolian town, life goes on: Cemal is an assistant referee in football matches; Yasemin works on a farm; and Defne is a street vendor who sells books. In this town with two suns and three full moons in the sky, Cemal — who has the ability to see through the walls — has no expectations out of life, and looks for a way out with Yasemin — who can move objects with her fingers. However, Defne, who can freeze time, will muddle things up, and Yasemin’s immoral boss’ actions will contradict the invisible elementary school teacher’s advice, who is trying to eliminate the worries of Cemal. Thou Gild’st the Even is a black and white film about the ordinary sorrows, worries and troubles of townspeople with extraordinary abilities.

We Gotta Get Out of This Place [Simon Hawkins and Zeke Hawkins] USA – World Premiere
With only three weeks left until his two best friends leave for college, Billy Joe robs his cotton farmer boss, Giff, in order to pay for one last blow-out weekend in Corpus Christi, Texas. Arriving home from the weekend, the teens find the consequences of Billy Joe’s actions brutal. Now Billy Joe, Bobby, and Sue will be taken on a ride that will test love, heartbreak, trust, and crossing that permanent line from adolescence into adulthood.

TIFF Docs lineup

A Story of Children and Film [Mark Cousins] United Kingdom – North American Premiere
A Story of Children and Filmis the world’s first movie about kids in global cinema. A passionate, poetic portrait of the adventures of childhood — its surrealism, loneliness, fun, destructiveness and vitality — as seen through 53 great films from 25 countries, director Mark Cousins’ landmark film is an eye opener and a celebration of both childhood and the movies.

Ain’t Misbehavin’ [Marcel Ophüls] France – North American Premiere
The director of The Sorrow and the Pityshares his memories with us, stories both incredibly rich and fascinating, making Ain’t Misbehavin’a cheerful and bittersweet trip through cinema history. Son of the great director Max Ophüls, Marcel can be a generous man and an admirer. Marcel talks with and about personalities like Jeanne Moreau, Bertolt Brecht, Ernst Lubitsch, Otto Preminger, Woody Allen, Stanley Kubrick and, of course, his friend François Truffaut.

At Berkeley [Frederick Wiseman] USA – North American Premiere
At Berkeleyis a documentary film about the University of California at Berkeley. The film explores the major aspects of university life of America’s premier public university with particular emphasis on the administrative efforts to maintain the academic excellence, public role, and the economic, racial and social diversity of the student body in the face of severe budgetary cuts imposed by the California legislature.

Beyond the Edge [Leanne Pooley] New Zealand – World Premiere
It was an event that stunned the world and defined an era. Sir Edmund Hillary’s incredible achievement remains one of the greatest adventure stories of all time: the epic journey of a man from modest beginnings who overcame adversity to reach the highest point on Earth. Screening in 3D.

Burt’s Buzz [Jody Shapiro] Canada – World Premiere
Burt’s Buzzis an in-depth and personal look at the life of Burt Shavitz, known to millions around the world as the ‘Burt’ of the Burt’s Bees natural product brand. The documentary explores what it means to be marketed as an icon, and how that life differs from the one of the man behind the logo.

The Dark Matter of Love [Sarah McCarthy] UK – North American Premiere
The Dark Matter of Lovefollows three Russian children learning to love their adoptive American family through a scientific programme. From the director of The Sound Of Mumbai: A Musical.

The Dog [Allison Berg and Frank Keraudren] USA – World Premiere
In 1972, John Wojtowicz attempted to rob a Brooklyn bank to pay for his lover’s sex-change operation. The story was the basis for the film Dog Day Afternoon. The Dogcaptures John, who shares his story for the first time in his own unique, offensive, hilarious and heartbreaking way.

Faith Connections [Pan Nalin] France/India – World Premiere
Filmmaker Pan Nalin travels to Kumbh Mela, one of the world’s most extraordinary religious events. There, he encounters remarkable men of mind and meditation, some facing an inextricable dilemma; to embrace the world or to renounce it. Faith Connectionsexplores such diverse and deeply moving stories as a young runaway kid, a Sadhu, a mother desperately looking for her lost son, a yogi who is raising an abandoned baby, and an ascetic who keeps his calm by smoking cannabis — all connected by one faith against the spectacular display of devotion.

Filthy Gorgeous: The Bob Guccione Story [Barry Avrich] Canada – World Premiere
Through his lens, Bob Guccione witnessed, influenced and played a starring role in easily one of the most controversial and socially and sexually revolutionary eras in modern history. Reclusive, yet outspoken, Guccione used his art, his fortune and his outspoken views on sexuality and politics to create scandal, change and debate. Unlike his publishing rivals, Hefner and Flynt, there is more to Guccione than meets the eye.

Finding Vivian Maier [John Maloof and Charlie Siskel] USA – World Premiere
A mysterious nanny, who secretly took over 100,000 photographs that were hidden in storage lockers and discovered decades later, is now considered among the 20th century’s greatest photographers. Maier’s strange and riveting life and art are revealed through never before seen photographs, films, and interviews with dozens who thought they knew her.

Hi-Ho Mistahey! [Alanis Obomsawin] Canada – World Premiere
Alanis Obomsawin tells the story of Shannen’s Dream, a national campaign to provide equitable access to education for First Nations children, in safe and suitable schools. She brings together the voices of those who have successfully brought the Dream all the way to the United Nations in Geneva.

Ignasi M. [Ventura Pons] Spain – World Premiere
Ignasi M., a world renowned museologist, is living a dramatic moment, but has the capacity to turn any situation into an edifying one and any discomfort into a hilarious series of facts.

Jodorowsky’s Dune [Frank Pavich] USA – North American Premiere
The story of legendary cult film director Alejandro Jodorowsky’s staggeringly ambitious but ultimately doomed film adaptation of the seminal science-fiction novel Dune .

The Last of the Unjust [Claude Lanzmann] France/Austria – North American Premiere
Through an interview with Benjamin Murmelstein, from Nisko in Poland to Theresienstadt, and from Vienna to Rome, Claude Lanzmann provides an unprecedented insight into the genesis of the Final Solution. It reveals the true face of Eichmann, and exposes without artifice the savage contradictions of the Jewish Councils.

The Mayor [Emiliano Altuna Fistolera] Mexico – Canadian Premiere
Mauricio Fernandez is the polemical mayor of San Pedro Garza García, the wealthiest and safest municipality in Latin America. He presents himself as an active ruler who is capable of cleaning his municipality of drug cartels without questioning the methods he uses to achieve this. The Mayordescribes the wild times of a country that is marked by violence and the complete discredit of the ruling class.

Midway [Chris Jordan] USA – World Premiere
In the middle of the Pacific Ocean lies a tiny unincorporated territory belonging to the United States called Midway — the site of one of greatest naval battles of all time. Before the navy set up station, this island served for centuries as a breeding ground for hundreds of species of seabird — most notably the Albatross. Midway lies at the center of the Great Pacific Garbage Patch, where the seabirds’ feeding grounds are teeming with plastic waste. Unknowingly, the Albatross feed their chicks our refuse and so the very waters that once sustained them, now threaten their lives. Through stunning imagery and narration, the voice of the island tells their epic tale of survival. Both elegy and warning, the film explores the interconnectedness of species, with the Albatross on Midway as mirror of our humanity. This is their story and ours, an inspiring tale of how life and love endure despite incredible odds.

Mission Congo [David Turner and Lara Zizic] USA – World Premiere
Death, diamonds and greed — a story of a US businessman’s pursuit of an irresistible opportunity during one of the worst humanitarian crises of modern times.

The Square (Al Midan) [Jehane Noujaim] Egypt/USA – World Premiere
The story of revolution — behind the headlines. From the 2011 overthrow of a 30-year dictator, through military rule, and culminating with the overthrow of the Muslim Brotherhood president in the summer of 2013 — follow a group of Egyptian revolutionaries as they battle leaders and regimes, risking their lives to build a society of conscience.

Tim’s Vermeer [Teller] USA – World Premiere
Tim Jenison, a Texas-based inventor, attempts to solve one of the greatest mysteries in all art: How did 17th century Dutch Master Johannes Vermeer (Girl with a Pearl Earring ) manages to paint so photo-realistically 150 years before the invention of photography? The epic research project Jenison embarks on to test his theory is as extraordinary as what he discovers.

The Unknown Known [Errol Morris] USA – North American Premiere
Errol Morris offers a mesmerizing portrait of Donald Rumsfeld, one of the key architects of the Iraq War. Although Rumsfeld has held lofty positions of American political power for half a century, most people know little about him. When Rumsfeld wrote, as part of his most famous meditation, that an “unknown known” refers to “things you think you know that it turns out you do not,” he could have been speaking about himself. The Unknown Knownis not intended as yet another postmortem on the Iraq War, but rather an illumination of a mystery.

Unstable Elements [Madeleine Sackler] USA – World Premiere
Comprised of smuggled footage and uncensored interviews, Unstable Elementsintroduces viewers to artists struggling under Europe’s last dictatorship. When the KGB targets dissenters, the members of the Free Theater find themselves torn between their art and safety. This compelling documentary showcases the power of art to change the world.

When Jews Were Funny [Alan Zweig] Canada – World Premiere
When Jews Were Funnyis director Alan Zweig’s personal exploration into the roots and the manifestations of his Jewish identity, and particularly the question of how this Jewishness of his has persisted, though he’s done nothing to maintain it. He begins his exploration by trying to answer a question that’s intrigued him since childhood. Why were all the comedians he watched on TV in the fifties and sixties, Jewish? At first he doesn’t get the answers he was hoping for, but he trusts in the old saying, “two Jews, three opinions” and eventually some answers start to form.

Here is a quick numbers breakdown of my 2013 Cannes Film Festival coverage. I spent about 8 full days (I had two half days that I am counting as one) watching a total of 17 films (not counting the one I walked out on). So I managed to see just over two films on average a day with an average rating of 6.8 that I gave out. All in all, I saw a lot of daring films, many of which were hard to watch, but all were crafted among the best talent in cinema today. So while my ratings may seem a little on the low side, it was only because it felt appropriate to critique them on the upmost of scales considering the extraordinary stage they were presented on.

NOTE: Here is a few films that I did not get a chance to see either because of schedule conflicts or general availability of the release in the US after the festival. Some of the the following could have changed the list; Inside Llewyn Davis, Blue Is The Warmest Color, Fruitvale Station, Behind the Candelabra, The Immigrant, The Missing Picture.

My Top 10 Films from Cannes 2013:

#10 – Ain’t Them Bodies Saints

Affleck dominates the screen when he appears and makes a good case for one of his better roles as an actor. The sun-filled landscapes of Texas provides great cinematography.
Ain’t Them Bodies Saints review

#9 – The Dance of Reality

Although The Dance of Reality is a bit disorganized, the film was extremely playful and entertaining. Feels more like a theatrical play than a film.
The Dance of Reality review

#8 – Nothing Bad Can Happen

Do not be fooled by the title, enough bad and painful things happen in this film, and they will stick with you long after the film is over. Emotions are definitely evoked.
Nothing Bad Can Happen review

#7 – The Congress

Of all the films at this years Cannes Film Festival The Congress may be have the strongest and ambitious plot. The biggest downfall might be that it tried to achieve too much, a shame because it had potential to be much higher on this list.
The Congress review

#6 – As I Lay Dying

This film has to earn the most uniquely shot films of the festival. Several parts of the film are shot in split screen to show perspective and reactions of multiple characters at once. And it did it without it feeling too gimmicky!
As I Lay Dying review

#5 – Borgman

Borgman was this year’s Holy Motors or Dogtooth for Cannes, a film that cranks the bizarre factor to the max. Films that are unlike any others typically sit well with me.
Borgman review

#4 – Nebraska

There is not a whole lot that goes on in Nebraska, similar to the small towns that are featured in it, but this is a road trip/family bonding film that is extremely heartwarming and entertaining.
Nebraska review

#3 – Sarah Prefers To Run

Sarah Prefers To Run wonderfully allows the audience to make their own guesses on what results in the film because of how subtle the film handles much of what is shown. The film contains a great message of controlling your own destiny.
Sarah Prefers To Run review

#2 – The Great Beauty

The Great Beauty takes a few jabs at the current snapshot of Italian culture and does so by showcasing hilarious satire with magnificent cinematography. It ends up being a love letter to Rome, or at least the great beauty of it.
The Great Beauty review

#1 – Like Father Like Son

Like Father Like Son shows its cards nearly right away but it remains intriguing long after you think it has played its hand. It takes a rather simplistic plot and turns it into something of a complex story that explores every angle.
Like Father Like Son review

Thus far I have been very fortunate to get into each screening that I have stepped in line for, even though not every film I stood in line for was worth the effort. This is mostly surprising considering the level of my press badge in festival which has several levels of higher priory. Granted, I completely skipped trying to see the Coen brothers film Inside Llewyn Davis because some helpful Twitter friends alerted me of the crazy high demand. So far that film seems to be the talk of the town, though it is one that will be playing all over in the States, therefore catching something more obscure makes the most sense. I can only imagine that similar demands for Only God Forgives will be in store when it premieres in the coming days.

Tonight at the premiere of his new film, James Franco was in attendence and took the stage to introduce the film. I was within arms reach, do not worry, I did not measure, but it did allow me to capture some decent photos.

James Franco at premiere of As I Lay Dying

Borgman

Borgman sets its strange tone from the very beginning when a man who somewhat resembles features that of Jesus, long-hair and long-beard, awakes from his underground hideout by the sound of a sharp spear piercing down from the ground above. Yet Borgman is far from being Jesus-like; he is actually the exact opposite. That might explain why it is a priest who is seeking to kill this man with his spear from above. But Borgman manages to escape through a complex tunnel system. As he is making his escape he warns other underground dwelling friends of the danger.

After fleeing the woods Borgman ends up at a very nice looking home on the countryside. The haggard looking man walks up to the door and asks if he is able to use their shower. The man answering the door politely declines. Not satisfied, he knocks again and pretends to know the man’s wife as a last ditch effort to be let in. From there the film ventures into a dark and twisted joy ride of murders and manipulations.

Borgman is the first film from the Netherlands’ that is In Competition for the Palme d’Or in nearly forty years – though it contains more of a Greek new wave sense of style. This is an unique film that is hard to make comparisons to, but if Dogtooth director Giorgos Lanthimos created his own take of the home invasion film Funny Games by Haneke, you would get something close to this. The first two acts of Borgman are magnificent but the final act straddles the line of mediocrocy – which is not the only straddling that occurs in the film (reference the photo above).

RATING: 7.6

As I Lay Dying

James Franco came on stage to introduce the film at its premiere at the Cannes Film Festival and bluntly said, “This is a weird film.” Indeed it was. For better or worse, As I Lay Dying certainly felt like a literal interpretation of the novel, but as I mentioned before I have not read the book, therefore I cannot say that with absolute certainty. The acting in the film was very strong but the obvious standout is the film’s poetic and Malick like cinematography. Whether or not the film works may very well come down to one simple question, did you read the book beforehand?

RATING: 7

Read my full review of As I Lay Dying