Review: ‘Homebound’ Explores the Struggles of Two Young Men in a Divided India
Neeraj Ghaywan’s latest film, ‘Homebound,’ is a poignant and powerful exploration of the challenges faced by two young men in a politically divided India. The film, which marks Ghaywan’s return to mainstream Hindi cinema, is a moving character study that delves into the realities of caste, religion, and social inequality. With its realistic portrayal of everyday struggles, the film offers a compelling commentary on the systemic issues that continue to plague the country.
The story follows Shoaib (Ishaan Khatter) and Chandan (Vishal Jethwa), two lifelong friends from a small North Indian village. Both are eager to escape their difficult circumstances by pursuing government jobs, a path that offers a chance at a better life. However, their aspirations are met with the harsh realities of a society that often fails to live up to its ideals. The film’s opening scene, in which the two friends board a crowded train to a nearby city, sets the stage for a narrative that is both personal and political.
Shoaib, a Muslim, and Chandan, a Dalit, are both striving to prove their worth in a society that often discriminates against them. Shoaib’s motivation is driven by the need to provide for his father, who is facing a serious health issue. Chandan, on the other hand, is determined to build a better future for his family, including his mother, who has had to work to make ends meet. Despite their differences, the two friends share a deep bond that is tested by the challenges they face.
The film’s narrative is built on a foundation of realism and emotional depth. The dialogue is often overt, but there are moments where the characters’ hidden feelings and experiences are revealed through subtle exchanges. For example, Chandan hesitates to introduce himself with his full name, a gesture that reflects his awareness of his social standing. Shoaib, in contrast, is more open about his beliefs and is willing to challenge the system, even if it means facing the scorn of those who hold power.
The film’s cinematography, by Pratik Shah, is a key element in its storytelling. The roving camera captures the boys’ surroundings with a poetic soft focus, enhancing their idealistic discussions about their birthrights as Indians. The law says one thing, while the dehumanizing gaze of upper-caste Hindu officials says another. These conflicts build upon each other, leading to a major turn that is not a twist, but a surprising reveal about the movie’s proximity to recent events, which brings its title into focus.
The emotional foundation of the film is crucial to its success. Shoaib and Chandan’s friendship is so realistic that any disagreement between them hurts. On the other hand, any fleeting gesture of affection or vulnerability, like Chandan standing in Shoaib’s path during an Islamophobic assault, makes love practically radiate through the screen. What’s valuable about the pair’s camaraderie is that it’s a gentle note played against the harsh orchestral assault of India’s fractured political milieu, which trickles down through every social fabric, until navigating daily life and simple conversations means swallowing indignities.
The most riveting turns in ‘Homebound’ are distinctly personal. But given the movie’s careful construction, they radiate outwards and latch on to systemic failings with a sense of righteousness. It’s a film of great tragedy, but one so rooted in beating humanity that you can’t help but be left furious, in addition to teary-eyed.