Borgman is a rather unique story. It deserves credit for being original and innovative. A homeless man with long hair and a huge beard, weird enough to look extremely dangerous, shows up at the door of an upper-class household and rings the bell asking the man of the house if he can take a bath. On the man’s refusal, he starts insisting and immediately starts making odd statements about the man’s wife. Borgman doesn’t seem innocent. There is clearly something evil about him.
The Dutch thriller is intense, containing a paranormal element. Whenever the director wants to make the thriller to go in a particular direction, he lets Borgman use his ability to control minds, either by inserting himself into the victim’s dream or by using a spell, becoming a nightmare for others. Borgman is a cocktail of violence, doubt, hallucinatory mysticism. Good luck finding stability throughout the movie.
The movie masters the capability to keep viewers hooked throughout its length. As Borgman goes deeper and deeper into the lives of Marina and her family, a weird event occurs which adds unusual faces to his all-inclusive scheme. Buckle up for the ride and wait for the conclusion.
The film contains some weird indirect political approach as well, suggesting that the family with whom he lives with deserves its bad luck for being well-off or their guilt of being well-off makes them defenseless to manipulation. After the intermission, most of the characters in the movie are acting in ways going against their interests. Viewers will think of them as the pawns of the central character, Borgman. The director’s approach towards the movie is dull, but the characters are colorful.
Borgman crawls under your skin by being unusual and different. Sarcastically, the fact that it’s so different may scare half the potential audience away. The reason why “Borgman” is so compelling and interesting to conclude, is because of its ability to keep you in suspense, wondering what will happen next?