Directed By: Neeraj Ghaywan
Language: Hindi
Cast: Ishaan Khatter, Vishal Jethwa, Janhvi Kapoor
Runtime: 2 hours 2 minutes
Rating: 4.5 / 5
As India’s official entry to the Oscars, Homebound carried soaring expectations. Yet this is not just a film, it’s an experience that lingers long after the credits roll. From the very first scene, Neeraj Ghaywan immerses us in a haunting yet tender tale of two young men from the lower middle class. One struggles with his caste identity, while the other endures discrimination based on faith. Despite their differences, both share the same dream: to wear the police uniform not merely for survival, but for dignity.
From the opening credits, Ghaywan thrusts us into the lives of Chandan and Shoaib, making us feel the weight of their dreams and the crushing harshness of their realities.
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The Ishaan Khatter–Vishal Jethwa starrer thrives on silences as much as on dialogue. While some may find the pacing slow, it is precisely this deliberate rhythm that builds emotional depth. The narrative unfolds through small but piercing moments: Jethwa’s mother saying she has nothing to leave her son except her worn-out, hardworking feet; and the shoes that later become symbols of inheritance, dignity, and resilience.
Janhvi Kapoor, as Sudha Bharti, delivers perhaps her most restrained performance yet. Stripped of glamour, she embodies simplicity with ease. Her quiet chemistry with Jethwa adds warmth to an otherwise hard-hitting story. Still, the heart of Homebound lies in the honest, raw, and deeply moving performances of Vishal Jethwa and Ishaan Khatter. Their struggles are separate yet entwined, their bond undeniable. From the humiliations they endure to the faint glimmers of hope in their eyes, from their fierce fights to the shattering climax where Shoaib clings to Chandan’s lifeless body, their chemistry is unforgettable.
Varun Grover’s sharp, piercing dialogues demand special mention. Together with the evocative cinematography, they capture the duality of India: a place where stinking poverty coexists with endless hope, where despair is constantly tempered by dreams of a better tomorrow. When Jethwa’s character says, “Every time I pick up bricks, life makes sure it all falls apart,” it cuts straight through with brutal honesty.
The second half intensifies, set against the backdrop of the 2020 lockdown. Just as life begins to stabilize, Chandan and Shoaib are thrust into yet another cruel battle—the struggle to return home. The film, loosely adapted from Basharat Peer’s 2020 New York Times essay about migrant workers walking hundreds of miles during the lockdown, becomes a mirror of how the marginalized are left without a safety net.
Lines like “Corona se baad mai bhukh mai pehle marenge” hit with devastating force, encapsulating the trauma of recent years. The gut-wrenching sequence of Chandan crying desperately for water stands out as one of the film’s most haunting moments.
The climax is devastating, emotional, and unforgettable. The final farewell between Ishaan and Vishal leaves the audience shattered. Chandan’s tragic end is not just a narrative conclusion—it’s a wound that refuses to heal.
Homebound doesn’t indulge in melodrama or noise. Its strength lies in realism. It doesn’t feel like a “message film,” but rather a lived reality, rendered with nuance. When the lights come back on, you don’t just leave the theater. You sit in silence. Around you, people are crying softly, lost in thought, grappling with the hard truths the film has laid bare.
