Written by: Siddhartha Krishnan | 5 Min Read

Homebound deals with a heavy subject: discrimination. Not just in one form, but through caste, class, religion and gender, even though caste-based discrimination remains central. It takes a filmmaker of rare maturity to handle such themes with the skill and nuance it deserves. While Neeraj Ghaywan’s directorial debut, the exceptional Masaan was more purist in its approach and leaned heavily on visual language, his second full-length feature, Homebound is more conversational. It rests on deep, lived-in exchanges between its characters.

Although, the film is India’s official entry to next year’s Oscars in the Best International Feature category, it struggled to secure a theatrical release at home. The CBFC ordered 11 cuts, amounting to just 77 seconds, yet enough to potentially blunt the emotional force of certain scenes. Did it dilute the film’s impact? Perhaps. But a film, beyond its hype, its controversies, its festival run, and the reputation of its creators, must still move its audience. It must linger and become a conversation starter. That, for me, is the mark of a great film. And when such films endure, they become classics.

So does Homebound belong in that realm?

The film draws from true events, inspired by a 2020 New York Times article by Basharat Peer. It follows two childhood friends from a small North Indian village, Chandan (Vishal Jethwa), a Dalit, and Shoaib (Ishaan Khatter), a Muslim, who share a dream: to become police constables. They believe that the uniform will become their escape from the poverty, discrimination and loss of dignity that have shadowed their families for generations.

With no college degrees, the police exam is their only opportunity for a different life. Failure means returning to the same manual labor their forefathers endured. The road ahead is unforgiving. Their friendship strains under the pressure of circumstance, while a system stacked against them keeps pushing them back. Yet they do not break. They adapt, endure, and hold on to hope, until Covid arrives and alters their fate in ways they could never have imagined. What unfolds after forms the emotional core of Homebound.

Though sparked by a newspaper article, the screenplay is deeply personal to Ghaywan. In an interview to the Indian Express before the film’s India release, he spoke of hiding his Dalit identity for 35 years. “When you masquerade, your confidence dies,” he said. While watching Homebound, you sense that what plays out on screen is born from lived experience. There is an honesty in the storytelling that you cannot turn away from.

In conversations following its festival run, Ghaywan has been clear that the politics in his films can never overshadow the filmmaking. If that happens, he believes he risks becoming a propagandist. During a Cannes interaction, with the Hollywood Reporter India, co-producer Karan Johar echoed this sentiment, stating, “There is no activism in the film, there is just filmmaking.” Legendary filmmaker Martin Scorsese, who joined as an executive producer and mentor, also spoke highly of the script and of Ghaywan’s craft.

What truly stands out is the film’s quiet simplicity. The narrative is layered and nuanced, yet expressed with clarity. In a film like this, it is easy for dialogues to become preachy. But Ghaywan, along with Varun Grover and Sreedhar Dubey, keeps a firm grip on realism. The film never overexplains its ideas. The scenes feel textured, unpolished in the best sense, and deeply human. This quiet authenticity is the film’s true strength. It does not sermonise. It simply holds up a mirror to society and leaves it there. As an audience, what you choose to see in that reflection is entirely up to you.

One of the film’s most powerful moments arrives when the exam results are announced. Chandan has passed. Shoaib has not. Chandan’s concern is genuine, but Shoaib, shattered and ashamed, cannot receive it as anything but pity. What begins as an argument soon turns into a fight. Yet it is the reason behind that confrontation that reveals who they really are. It is heartbreaking, but also deeply revealing. Until that moment, they appear to have risen above every identity imposed upon them. In this scene, Ghaywan strips them back to their most human selves, grounding the film in its deepest intention: humanism.

Made on a modest budget of ₹3–4 crore, it reportedly took nearly three years to ready the script for production. The shoot itself was completed in approximately two months. That care in the writing is visible in the way the scenes land, and there are several that are likely to linger. The attention to detail, in both costumes and locations, is equally precise. Much of the story unfolds in a North Indian village, filmed largely in and around a village near Bhopal, Madhya Pradesh.

The cinematography is restrained and grounded, never departing from the characters’ world. Every frame feels rooted in their reality. The color palette and lighting choices subtly enhance the film’s shifting moods without drawing attention to themselves.

In a performance driven film like this, the actors had to deliver, and they do so with conviction. At no point do they feel out of place. The two leads, Ishaan Khatter and Vishal Jethwa, bring the artistry, maturity and nuance their roles demand. Even with limited screen time, Jahnvi Kapoor makes her presence felt. Shalini Vatsa in the role of Chandan’s mother, was exceptional, anchoring the film with a quiet, heartbreaking authenticity.

Conclusion:

Homebound speaks to everyone, cutting across class, caste, religion and social standing. It draws the viewer into a world that unsettles, challenges the conscience, and forces a confrontation with uncomfortable realities. Yet, it does so with rare grace and empathy, making the experience feel deeply cathartic rather than overwhelming.

Homebound easily qualifies as one of the finest Indian films of the year and stands tall as a worthy Oscar contender. It has the depth and craft to endure, much like the director’s debut. Whether it will be remembered as a true classic, only time will tell.

Verdict:

IMDb rating – 8/10

My rating – 4.5/5

You can watch Homebound on Netflix.

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About the author:

Siddhartha Krishnan is the author of ‘Two and a Half Rainbows – A Collection of Short Stories’. An enthusiastic blogger he shares his essays, travelogues, book and movie reviews on his blog (www.whatsonsidsmind.com).