Kim Dae-hwan made a remarkable debut in 2014 with “End of Winter,” which not only received the New Currents Award at the 19th Busan International Film Festival but also earned praise from then-jury president Bong Joon-ho. This early recognition helped launch his career, eventually allowing him to work alongside the Oscar-winning director and contribute to the screenplay of “Parasite.” Now, Kim returns with his third feature film, “Homeward Bound,” which had its premiere on May 1st in the Korean Cinema section at the 26th Jeonju International Film Festival.
The story follows Jung-ha (Jang Young-nam), a teacher and painter, who lives peacefully in Chuncheon while secretly dating her girlfriend Ji-seon (Ok Ji-young). One day, Jung-ha’s son, Jin-woo (Ryu Kyung-soo), returns home from Canada, unexpectedly with his new girlfriend Jenny (Stephanie Lee), whom he quickly announces as his fiancée and very soon-to-be wife. Shortly afterward, Jenny’s parents, who are supposed to be in Canada, also arrive in Chuncheon, claiming that they have business matters to attend to. As the three couples attempt to stay under one roof for a few days, long-buried secrets begin to surface, making it harder and harder to ignore what has been hidden for years.
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Kim Dae-hwan, who also wrote the screenplay, skillfully drives the plot forward by gradually revealing more and more shocking and quite liberating truths about family members. Like an avalanche, one misplaced sentence triggers an outburst from relatives, ultimately shifting the story from a quirky drama into a thriller-like suspense. Remarkably, Kim manages to achieve this while respecting genre conventions and delivering a relatively happy ending, which, considering that the main couple is queer and the son plans to become something of a stay-at-home husband, feels refreshingly progressive.
Shot by Yang Jeong-hun, the film uses long takes and seamless shifts from one person to another, allowing viewers to observe the situation as it unfolds in real time. The candy-colored palette creates an honest and, at times, simple plot. However, when more secrets are exposed and the relationships between characters begin to crack, the colors darken, mirroring the increasingly tense tone of the story. Surprisingly, the night scenes, filled with shouting and dramatic music, evoke a sense of grotesque feelings. Rather than fearing what Jung-ha may or may not have done, viewers are left with a lingering feeling that ultimately, nothing truly terrible will occur.
Jang Young-nam impresses with her natural performance, especially in her portrayal of a closeted queer relationship. Despite the absence of kissing or any physical intimacy scenes, their feelings for each other are visible. This can also be said about the other couples. The power dynamic of who dominates in the relationship and who doesn’t, which plays a crucial part in the story, is admirably highlighted by the actors’ facial expressions and the tone of their voices. Park Ji-a, who plays Jenny’s mother, delivers a standout moment with the explosive outburst at her husband after he got drunk. The ongoing frustration that has been boiling in her since the beginning, suddenly explodes, resulting in the horrifying, but positively satisfying climax.
Ultimately, “Homeward Bound” is a proof of Kim Dae-hwan’s outstanding ability to blend grotesque elements with heavy themes, particularly social issues like alcoholism, homophobia or even domestic violence, all explored within the family setting. At the same time, he manages to play with genres, while maintaining the visual sensibility of indie cinema. Consequently, he delivers a gripping and heartwarming narrative in which all of the six characters are fully fleshed out and thoughtfully portrayed. While traces of Bong Joon-ho’s influence may be noticeable, Kim doesn’t imitate, but rather builds upon it, adding his new colors and voice. This, in turn, affirms that Kim is indeed a promising new voice of his generation.
