Al Chang, a distinguished filmmaker from Los Angeles’s Koreatown, is passionately pursuing his dream of crafting authentic narratives in the movie industry. With 10 years of service in the U.S. Army and a deep connection to the post-L.A. riots culture, as well as being a dedicated husband and father of four, Chang brings a unique perspective to his work. “HOME” is his fourth short as a director and fifth overall, and is based on a true story.
HOME review is part of the Submit Your Film Initiative
The movie opens with a young girl painting on the ground while two women talk about one’s children, clearly showing a close bond between them. The girl brings one of the women a flower, but her mother quickly pulls her away. Their conversation soon becomes disjointed, subtly revealing that something is amiss with the first woman. She is Seo-Won, a person struggling with a disorienting condition that blurs the line between past and present. The 15-minute short follows her as she moves through her day, frequently lost, but repeatedly encountering the same woman from the opening, along a number of other individuals.
Al Chang creates a compelling sense of disorientation that mirrors Seo-Won’s mental state, amplifying the drama and emotional impact, while building sympathy for her. The recurring presence of the other woman adds a layer of emotional mystery, who is she, really, and does she even exist? A man also appears several times, eventually revealed to be her younger brother, further deepening the emotional resonance.
Themes of regret, family, and the role of women within Asian-American households provide a rich subtext, giving the narrative additional depth and relevance.
The production values are high, though the movie occasionally falls into a common pitfall of (Asian) American indie cinema. Kathryn Hutchinson’s cinematography is overly polished and the score borders on being overly sentimental, occasionally making the piece feel like an advertisement or an extended trailer. However, the frame-within-the-frame technique works well in most instances, and Al Chang’s own editing plays a crucial role in conveying the central sense of confusion and mental fragmentation.
Theresa Bome Kim is convincing as Seo-Won, portraying a woman emotionally and cognitively adrift. Angie Jho Lee, as her friend, brings another strong presence to the screen.
A touch less polish in the visual and musical approach might have enhanced the realism, but “HOME” remains a heartfelt and thought-provoking work that explores memory, identity, and family with emotional sincerity.
