Hanna Bergholm's feature debut Hatching was one of the best horror films of that year, and ended up in my overall top five films of 2022. It was strange, surreal, satirical, grimy - and bloody good. Now, Bergholm has returned with Nightborn, her first English-language feature. Here, Bergholm shifts gears to a dark fable centred on Saga (Haarla) and Jon (Grint) as they become first-time parents after relocating to the beautiful Finnish countryside. However, Saga is convinced that there is something unnatural about their new baby boy.
"After a strong opening act that establishes an intriguing sense of mystery, the film falters in its reluctance to fully trust the audience, frequently stopping to explain its folklore rather than letting the audience piece it together."
Like Hatching, Nightborn blends horror with fairy-tale sensibilities, however, it is not quite as immediate as its predecessor. It is also far less subtle in conveying its ideas, though Bergholm has a strong handle on the narrative thematically. Even so, Nightborn is at its best when it leans more into the atmosphere and vibes than explanation and exposition. The Finnish woodland setting, the decaying family home that still feels rotten despite its renovation, the looming presence of nature, and the overwhelming isolation all combine to create a palpable sense of dread that hangs over every scene
That said, after a strong opening act that establishes an intriguing sense of mystery, the film falters in its reluctance to fully trust the audience, frequently stopping to explain its folklore rather than letting the audience piece it together. In doing so, much of the tension quietly drains away.
As Saga, Seidi Haarla delivers a physically demanding and emotionally exhausting performance as the character spirals deeper into paranoia, exhaustion, rage, and desperation. She convincingly moves between psychological horror, body horror and dark comedy. Rupert Grint's Jon is oddly oafish and ultimately rather vanilla, the character never develops beyond a fairly generic, emotionally flat supporting role.
Hatching had more than its fair share of grotesque imagery, and Nightborn follows suit. Bergholm continues to demonstrate a remarkable eye for disturbing imagery. The monstrous baby is used sparingly enough to remain unsettling, whilst moments involving blood-soaked feeding, creeping shadows, raw steak feasting, and Finnish fairytale iconography create some of the film's most memorable moments. The film is undeniably dense and bleak, but Bergholm injects dark humour at moments throughout to prevent it from becoming relentlessly heavy.
The film's combination of folk horror, body horror and gloomy maternal drama is compelling, but Nightborn isn't always immediately engaging. Whilst it occasionally over-explains itself and suffers from uneven pacing, the unsettling imagery and Bergholm's assured visual direction more than compensate for those shortcomings. Regardless, Bergholm remains a really exciting voice in the genre and I can't wait to see where she goes next.
July 28th 2026