Editor’s note: Our review of Borgman originally ran during last year’s Cannes Film Festival, but we’re re-running it now as the film opens in limited release. Alex van Warmerdam‘s Borgman is the first Dutch film to play In Competition at Cannes in just shy of 40 years, and with its daring, deeply dark yet also rib-ticklingly amusing subject matter it unquestionably proves the country’s cinematic worthiness. Early reviews emerging from the Croisette have already compared the film to both Yorgos Lanthimos’s Dogtooth, and the more severe works of Michael Haneke, two touchstones that absolutely hit the mark. Borgman is absolutely a film best approached with only a cursory knowledge of its plot — not that van Warmerdam gives much away himself. The opening images show a disheveled middle-aged man, Borgman (Jan Bijvoet), being disturbed while sleeping in an underground compartment, at which point he flees and knocks on the door of married couple Richard (Jeroen Perceval) and Marina (Hadewych Minis). Richard turns him away after administering a harsh beating, but Marina takes sympathy and allows him to recuperate in the guest wing. However, little does she know quite what she has invited into her home.