Borgman opens with three men, including a very angry-looking priest, who head into the woods heavily armed. They arrive at a spot in the middle of nowhere and start stabbing a giant stake into a hollow place under the ground. This hollow contains an underground lair, the home of the disheveled Borgman, their target. He, it seems, is well-prepared for such a disturbance, and as they attempt to kill him, he makes his way into a hidden tunnel, but only after throwing a smoke bomb to put his attackers off further. After escaping from these people, he then alerts two other men who are also living in similar underground apartments that it’s time for the three of them to move on. The opening sequence, such an amazing and assured silent cinematic set-piece, works so well, I felt like every cell in my body had leaned forward to find out just what on earth could be going on here.