Table of Content
Jeong-won is a complex character going through complex emotions and Han Woo-yun portrays them like a seasoned pro. The different emotions she brings to her face in the short scene where she first gets the news of the perpetrator’s arrest over the phone are extraordinary, as is the scene in the car with her husband or even the emotional breakdown near the end. Lots already has been said and portrayed in films about the actual act of sexual assault and more still of its immediate effects on the victim and those around her.
But today there is Alex, his six-year-old nephew, and Mona, his passionate mother. It garnered a well deserved Venice Horizons Award for Best Screenplay (by the director Jessica Palud, Diastème and Phillipe Lioret) and was nominated for Best Film. Acting is excellent all around, direction is fluid and the cinematography captures the harsh, high contrast summer landscapes of the Drôme, a region near Valence. Unfortunately, this pleasingly dense, novelistic approach becomes more diluted as the story progresses. Firstly, there’s the awkward handling of the revelations surrounding Mathieu’s death. Palud hasn’t made a thriller or mystery but even for a straightforward drama the handling of these narrative puzzle pieces is awkward and done with little subtlety.
Popular Lists
Needs to review the security of your connection before proceeding. His brother, who won’t be coming back, his mother, who is about to do the same thing, and his father, with whom nothing has ever been possible. He finds there everything from which he had fled twelve years earlier.
It is the first feature from Paris-born filmmaker Jessica Palud, a former assistant director who has worked on several features from one of France’s greatest humanist filmmakers, Philippe Lioret . Lioret actually produced the film and also co-wrote the script with Palud and mono-monikered screenwriter Diasteme . For as long as I can remember, I've been watching movies, but my introduction to Asian cinema was old rental VHS copies of Bruce Lee films and some Shaw Bros. martial arts extravaganzas. But my interest in the cinema of the region really deepened when I was at university and got access to a massive range of VHS and DVDs of classic Japanese and Chinese titles in the library, and there has been no turning back since. Drawn Back Home is one of the best gay themed films that I have seen in a very long time. I have watched this movie at least a dozen times.
Critic Reviews for Back Home
Former Xavier Dolan muse Niels Schneider andBlue Is the Warmest Colorbreakout Adele Exarchopoulos, who earlier this year co-starred in the Cannes competition titleSibyl, compellingly bring their sweaty, hard-shelled characters to life. But there is a sense throughout that this fleet, 77-minute tale could have used a little more nuance and depth and a smidgen less armchair-analysis-level psychology. Back Home premiered in Venice in the Horizons sidebar and should see interest from other festivals and French film week-type events, as well as from broadcasters and VOD platforms.
But Park Sun-joo’s film is not interested in that. Instead, she focuses on the human story and on the relationships that are strengthened or broken by the ghosts of the past that come catching back on you, while letting the actual event feel like a subplot or a mere plot device to the more important story. The emotions and their corresponding actions that Jeong-won goes through are very raw and feel authentic.
Top Billed Cast
When he arrives, all the cows of his childhood are gone. In their place, he sees the cute Alex , his 6-year-old nephew whom he has never met before. Mona , Alex’s mom, also doesn’t immediately recognize the man with the curly blond hair, though he is the older brother of Mathieu, Alex’s late father and Mona’s late boyfriend.
These sentiments began to make further sense once Jeong-won’s younger sister features more prominently in the film’s second half. Jun Suk-ho is an actor mostly seen in much smaller, throwaway roles (most audiences might know him as the magistrate with the hots for Bae Doona’s character in Netflix’s “Kingdom”), so the gravitas he brings to Sang-u catches you off-guard and is praise-worthy. His transition from the loveable, doting husband to the confused yet supportive partner who wants to be his emotionally struggling wife’s pillar of strength but never quite gets to be is noteworthy, particularly in the aforementioned car scene. Seasoned supporting actors Yoo Jae-myung and Yum Hye-ran provide decent company to the two as Jeong-won’s uncle and aunt but it is Jung Da-eun’s understated performance as Jeong-won’s sister that surprises. Given the premise, this could easily go full-on forbidden love story. It could also turn easily into a turgid exhibition of inner-family quarreling.
What did you think of the movie? (optional)
Because this is primarily a “human” film, the cinematography doesn’t attempt anything fancy but is content, just like Park Sun-joo’s script, in keeping its humans centre-frame. The different locations used are well selected and in a small scene, it was amusing to see and recognise the house that played a key part in “Moving On”, another participant at Busan last year. Music is sparsely used but manages to fill the silences well with its moody undertones. A truly fine film from a debutante director featuring an excellent performance from a debutante actress. Ula, a young girl from a small town in Poland is kidnapped and taken to a brothel in Germany. However, the welcome she receives is far from warm, as the girl is ostracised by the local, conservative community.
It all seemed very operatic to me - I almost thought the story could be adapted to an opera. The central character, Fausto, even looked like an Italian tenor. The plot evolves from his selling his soul to the devil (i.e. some local crooks) to save his estate from bankruptcy.
This is, after all, a story of a woman finding her way back to her husband and her family in the midst of a crisis she never expected to face. Despite the heavy subject that starts our characters’ journeys, “Way Back Home” is ultimately a unique love story. This is a truly fine film from a debutante director featuring an excellent performance from a debutante actress. As Jeong-won, Han Woo-yun is the life of the film and her performance becomes further fascinating when you realise that this is her debut as well.
Yes, he is indeed a genuinely likeable character who the audience can mostly empathise with, but this leaves him being a bit one-dimensional, even when his wife is being rather unreasonable in her determination to not talk to him about the incident. Putting oneself in his place, which this film in fact makes you do with every character, you would be frustrated, even angry, which would be very natural but that never comes to be. Just when you think you might finally get to see a different shade to him, he comes back out with an umbrella for his wife to shade her in the pouring rain. In the Drome region, in southeastern France — further east than the original Lot department of the novel — agrarian families struggle to get by. But this might be news for Thomas , who is returning to the family farm after a dozen or so years in Montreal, where he works in a restaurant.
Schneider, who has often been cast as a mysterious — sometimes even blank-slate — pretty boy, here finds a welcome role that has no use for his beauty. Thomas is either stuck on the farm or in the hospital, two places he doesn’t necessarily want to be, especially during the height of summer. So what we get is a sticky, sometimes mud-smeared Schneider whose usually luscious hair is here transformed into a flat, dirty mop glued onto his sweaty forehead.
Yes, the story is pretty hokey, involving amnesia, controlling macho males, vendettas and gangsters, forbidden relationships, and gosh knows what else. It is set on a sumptuous agricultural estate near Turin and is infused with atmospheric photography and a musical score reminiscent of the late Ennio Morricone. Discover the stars who skyrocketed on IMDb’s STARmeter chart this year, and explore more of the Best of 2022; including top trailers, posters, and photos. An avid collector of physical media, I would say Korean cinema really is my first choice, but I'll watch anything that is south-east Asian. I started contributing to Asian Movie Pulse in 2018 to share my love for Asian cinema in the form of my writings.
And, once again, Sarah Lancashire was outstanding. There are no featured reviews for Back Home because the movie has not released yet (). Tensions rise and old wounds resurface when a man returns to his family's farm in France. Verified reviews are considered more trustworthy by fellow moviegoers. I thoroughly enjoyed this very Italian crime thriller/family drama now streaming in the U.S. on Acorn TV under the title "Back Home." It's all great fun and kept me bingeing through the twelve episodes.
Thomas meets Mona, his brother's widow and their son Alex. Mona is trying to manage the farm, with the alternative of losing the land to debt never out of sight. She struggles to provide security and education for Alex, and makes ends barely meet with a job in a nearby town. Generally speaking, Palud has a good eye for the coarseness of country folk and life. Victor Seguin’s unadorned cinematography, which seems to use only available light while saturating the colors, is the perfect choice for the muggy, near-oppressive countryside summer during which the story is set.
No comments:
Post a Comment