PLOT: In Finnish forest, Saga and her husband Jon embark on a new chapter as parents. But Saga’s joy is overshadowed by a chilling suspicion about their newborn, unbeknownst to Jon, causing a rift as she alone grapples with the disturbing truth.
REVIEW: 2022’s Hatching gave us a unique film about motherhood with a very unique horror twist. It was a big hit for Shudder and seemed to signal a new voice for the genre. Now, director Hana Bergholm is back, and she’s taking on a similar theme of motherhood, only with some different horror to flavor it. But does Nightborn manage to do something different from her previous effort, while still occupying a similar space?
Nightborn follows a couple, Saga and Jon, as they move out into the Finnish forest to start a family. But there’s something wrong with their son, Kuura, and only Saga seems to notice it. Because of this, she makes it very clear that she doesn’t want the baby and that something is wrong with it. Of course, she’s right, but those around her simply think she has post-partum depression. If the film didn’t lean so heavily into this haunted forest and Saga’s family history with it, then her rejection of the baby could have been a unique metaphor. The point simply gets lost once you add in this supernatural force, making the story feel less emotionally satisfying overall.
Rupert Grint has chosen some very interesting roles since his time in Harry Potter, and this one is no different. Jon is a complicated man who clearly just wants to have a family, but his desire for such results in him ignoring the plights of his wife. He’s doing what he thinks is right but his blinders start to morph him into a bit of a villain. It’s not a very showy role, and he’s simply there as a foil in Saga’s journey. The entire film rests of the performance of Seidi Haarla, who is incredible as Saga. Her turmoil is poignant and its somehow easy to sympathize with her treatment of the child. And I absolutely love how she always refers to the child as “it.”
The entirety of Nightborn takes place at this house in the Finnish forest, and there are some interesting visuals. From the truly beautiful Panaglide shots to the art design of the kids’ playroom, it’s all very impressive. Most of the tension comes from the unpredictability of Kuura. You just never know what this child will do. The breastfeeding scenes had me physically wincing, as the sound design tears away at your nerves. I also really liked the look of the child, as he almost seems like a little Eddie Munster.
It can be frustrating with how much every single person that’s not Saga, has blinders on when it comes to Kuura. This could have worked except there’s no mystery that the baby is evil. It’s clear right from the start that something is not right there. And nearly every event that happens after just proves it further. It takes every non-Saga character to overtly ignore actions that can only be described as evil. Just having one person that would listen to her, would have given us a sliver of hope. Instead, Saga is simply ignored and treated as though she’s the bad guy in all of this.
Some elements really work for Nightborn, and others fail to connect. Seidi is the absolute highlight, and she gives such a fantastic performance. I was able to both sympathize with her and be disturbed by her solutions. And while frustration may have been what the filmmakers were going for, it doesn’t make for the most enjoyable experience. This is a slow burn with some good performances, but ultimately misses the mark overall. It feels like there’s a reveal that we simply don’t receive, and instead are left with a movie that doesn’t quite reach its full potential.
Nightborn is currently playing at the Fantasia International Film Festival and streams on Shudder on July 31st, 2026.
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