Nightborn Review: A Deep Dive into Hanna Bergholm’s Intriguing and Gritty Folk Horror at the Berlin Film Festival
In a chilling reinterpretation of horror themes, Hanna Bergholm’s film Nightborn transforms a famous scene from Roman Polanski’s classic into a gruesome folk tale. The story echoes the surreal body horror of Bergholm’s earlier work, Hatching, while exploring primal instincts and human nature’s struggle against societal constructs. Featured in the competition at the Berlin Film Festival, this film marks a significant recognition for female directors in the genre.
The narrative centers on Saga (Seidi Haarla) and her husband Jon (Rupert Grint), who journey through Finland’s dense forests. In contrast to the typical American cabin-in-the-woods trope, their destination is a dilapidated mansion, steeped in memories of Saga’s childhood. The house, overrun with weeds and littered with rusted iron, symbolizes a fixer-upper that Jon optimistically embraces, remarking, “Well, we did want nature nearby.”
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Saga and Jon dream of building a family and plan to have three children. This aspiration seems to drive Saga’s desire to reconnect with her past. Their excursion into the forest reveals an eerie landscape, where tree trunks seem to watch them, and local folklore suggests that the woods respond to one’s calls. In a moment of intimacy before their sexual encounter, Saga whispers, “Make me a mother.”
Her wish comes to fruition, and just as Saga gives birth, Jon has miraculously renovated the house, showcasing an unsettlingly artistic touch to the décor. This setting amplifies the film’s disconcerting atmosphere.
The initial hint of trouble arises during Saga’s labor, described as an Alien-esque eruption of blood and chaos. A nurse remarks, “I’ve never seen such a hairy boy,” as Jon caters to their newborn’s peculiarities, including a vestigial tail. The unsettling sound design enhances the child’s bizarre cries, reminiscent of the horror found in Larry Cohen’s It’s Alive.
As Saga grapples with her experiences, doubts about her sanity emerge. While hosting a baby shower, she overhears troubling remarks about her child, including questions about his appearance. Observations like “Why does it look so weird?” and “Babies are usually cute,” echo throughout the gathering.
The film skillfully allows for interpretations ranging from parental anxiety to deeper psychological insights. Its tone shares similarities with Lynne Ramsay’s Die My Love, where tension mounts throughout. Bergholm intricately delves into the house’s history, the clutter in the yard, and the ancestral wisdom of Saga’s superstitious grandmother, dismissed by her family. This sets the stage for a climactic and shocking finale.
Seidi Haarla shines as Saga, navigating the escalating madness with poignant authenticity. Rupert Grint, long known for his role in the Harry Potter series, delivers a nuanced portrayal of Jon, balancing condescension with subdued patience. Supporting actress Pirkko Helena Saisio introduces an additional layer of complexity as Saga’s mother, leaving audiences to question her true motives. The film revels in its clever misdirection, appealing to seasoned genre viewers familiar with such tropes.
Title: Nightborn
Festival: Berlin (Competition)
Director: Hanna Bergholm
Screenwriters: Hanna Bergholm, Ilja Rautsi
Cast: Seidi Haarla, Rupert Grint, Pamela Tola, Pirkko Saisio, Rebecca Lacey
Sales: Goodfellas
Running time: 1 hr 32 mins
