Some narratives can have resonance much beyond their original release. Take in point “Dream Home” from 2010. A blackly comic horror that satirizes the property market in Hong Kong. Fast forward a decade and there are housing crises across the globe and the prices of properties are on the increase. People struggle to get on the property ladder, something that “Dream Home” takes a darker look at as its “heroine” Cheng resorts to drastic measures to get hers. Pang Ho-cheung alongside producer and star Josie Ho create an alternative way to make a killing on the property market. One that might entertain and offend in equal measure.
Dream Home is screening on New York Asian Film Festival
Cheng Lai (Josie Ho) works two jobs in an effort to earn enough money to procure an apartment with a view of the Victoria Harbour. Her actions stem from a childhood in poverty that saw her family evicted so that property developers could build more expensive residences over the older ones. With the bank only willing to pay so much and an oversight on declaring her father's health condition, this dream seems remote. After the death of her father, (Norman Tsui) Cheng has the finance but a spike in the property market sees the owners raise the valuation. Unwilling to allow anything to come between her and her dream home, Cheng begins a murderous path to take out anyone that stands in her way.
A recurring theme in Hong Kong cinema is the aspiration of personal wealth. This very capitalistic society is frequently demonstrated in the actions of the characters in the local productions. Real estate as a consequence has been a fertile ground for horror movies. “Dream Home” is a variation on the principle theme however, as recent horror films within this particular field have revolved either around the supernatural and the impact it has on property values or the desperate need to find one that people will reside in one that is haunted. Fruit Chan's “Coffin Homes” is the most recent example of the trend. With “Dream Home”, the horror is much more real with Josie Ho's increasingly unhinged Cheng Lai going to any lengths to secure her residence. The irony of all the satire is that, surprisingly, she becomes a relatively sympathetic figure despite her homicidal tendencies. Cheng Lai is simply acting in an exaggerated form of how others would do. The desire for property drives her and this aspiration is a social norm. The fact that she is killing off her competition is only slightly more ruthless than some business practices.
Josie Ho brings her usual intensity to the part, throwing herself into the grand guignol moments with relish. She's always an interesting performer but rarely getting the meaty lead roles that she deserves. Naturally, as producer she gives herself one such part here. Her Cheng Lai, driven by the poverty of her family, is prepared to make any sacrifice necessary to make her dream come true. Some of her actions may cross the line of good taste but this is a category III horror after all. The violence is bloody and doesn't shy away from the graphic nature., with the death by vacuum cleaner being the one that sticks in this particular reviewers memory.
In terms of horror, it's not a particularly scary feature. Instead, it plays as a female led version of the Category III classics such as “Bunman: The Untold Story” that were as much exaggerated character pieces as they were horror films. The horror here emanates from her actions that have that slasher movie vibe. The satire is a bit heavy handed but in the context of the production fits perfectly. The best Category III features were ones that took a concept and went as far as they could with it. The impact that Cheng's actions have on the property value only add another layer of cynicism and absurdity to the piece.
The direction by Pang Ho-cheung is solid and gets the tone just right. This is a production that will inevitably divide audiences which the best of black comedy always does. If you have a bit of a twisted sense of humour then chances are you will get more out of it. Forget any thoughts of realism, just sit back and enjoy the edgier side of Hong Kong cinema. If you ever thought you'd kill for a place like this, then this are the consequences!
