'Homebound' Review: Neeraj Ghaywan’s bold movie brims with hope

When Chandan Kumar (Vishal Jehtwa) and Mohammed Shoaib (Ishaan Khatter) board the train to take the police constable exam, it marks the start of a journey brimming with hope—a doorway to a life beyond the poverty and prejudice they were born into. This feeling of expectation sets the tone for Neeraj Ghaywan’s 'Homebound', gradually evolving into a story of redemption and uncertainty in rural India, where caste and religious voids run deep and dark.

At the heart of the film, backed by Dharma Productions with Martin Scorsese as executive producer, are the two young men, bound by similar circumstances and genuine affection, though their struggles differ. Chandan, academically driven, belongs to a maginalised caste but hides his identity, opting for the 'General' category on admission forms. Neeraj, known for his sensitive portrayal of caste politics in films like 'Masaan', conveys Chandan’s shame vividly, especially when he confronts a senior officer at the police headquarters.

Shoaib’s struggles are no less intense. He constantly faces mockery and suspicion because of his religious identity. While caste and religious struggles have appeared in Indian cinema before, Neeraj brings a microscopic view of hardship through relatable situations—like Shoaib being asked for his parents’ identity cards at a water filter office where he works, or the subtle hint from an HR officer that he doesn’t belong there.

The first half is raw and rustic, reminding viewers that oppression persists in many forms. B R Ambedkar’s photo on Chandan’s wall is a stark reminder of this reality. Yet, Neeraj never forces his message. Moments unfold naturally, allowing the story to flow with quiet grace. Amit Trivedi’s gentle music and Pratik Shah’s cinematography, which beautifully captures rural homes, food, and lifestyle, elevate the film’s texture.

The second half intensifies with urgency, though the shift in tone slightly disrupts the narrative’s gentle rhythm. Still, it commands attention. The protagonists’ journey home feels like an ode to migration and the struggles endured by the marginalised, echoing the experiences depicted in Blessy’s 'Aadujeevitham'. The climax plunges viewers into emotional unrest, offering no neat closure, which makes it all the more affecting.

While the latter half’s familiarity occasionally dulls impact, it’s only momentary—migration remains a universal story, told across cultures. South Indian films like 'Jai Bhim' and 'Pariyerum Perumal', or the Marathi 'Sairat', have explored caste oppression, but 'Homebound' is one of Bollywood’s rare films to tackle it boldly.
The film also explores brotherhood—through quiet camaraderie, unspoken care, and youthful impulsiveness—creating a layered, emotionally resonant experience.

The performances stand out. Ishaan Khatter continues to impress, adding emotional depth to his role, while Vishal Jehtwa is a revelation, subtle yet powerful as Chandan. Jhanvi Kapoor delivers a neat performance as Chandan’s love interest, despite limited screen time, and Harshika Parmar brings the required fortitude as Chandan’s sister Vaishali. Overall, 'Homebound', India’s official Oscar entry and inspired by a real-life story, reflects government apathy while portraying grit and nuanced human emotions. It’s a film that deserves to go places.