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But alas, this is a quiet, pastoral, contemporary French drama, so none of that is likely. A destitute farm family beset by misfortunate and grief is visited by their eldest son Thomas, who escaped the family's entropic field, to Montreal, many years prior. Thomas, a young man, returns from Montréal to the farm in the southeast of France where he grew up. His mother is terminally ill and his father is staying with her in the hospital and seems unable to cope with day-to-day chores. Thomas' first impression of the farm is discouraging; livestock have been sold to cover debts, irrigation pipes are in disrepair, and rooms are cluttered and in need of tidying up.
But she has her heart in the right place, as becomes clear when she suggests why she wants to stay at the farm when Michel has finally come home after having spent several nights at the hospital. Her earthy presence as a complicated but good-hearted woman is a believable and welcome one in this tough world. The early going, in which Thomas slowly immerses himself again in life at the family homestead, is beautifully written. Small conversational details convincingly sketch in the various backstories and offhandedly suggest what has changed since Thomas flew the coop all those years ago. The reason Thomas is back at all is because his aging mother, Catherine , has been hospitalized, though his hardhearted father, Michel (Patrick d’Assumcao), didn’t think that eventhatwas reason enough for Thomas to either come back or even be told. A Frenchman in his early thirties returns to the farm of his childhood in the rural family dramaBack Home , a suitably down-to-earth adaptation of a work by French novelist Serge Joncour.
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He’s not quite Charlize-Theron-in-Monster-level unrecognizable, but Schneider’s full-bodied performance really does manage to take center stage here because his appearance has been taken out of the equation. He also has a laid-back kind of chemistry with Exarchopoulos as his sister-in-law, even if a late scene with the duo underneath some olive trees feels like an unexpected swerve into genre complacency that’s somewhat icky in hindsight. But these changes to the fabric of rural France aren’t the only explanation for either the frosty relationship between father and son or for Michel’s misguided political leanings. Conversely, if one were being highly critical the only minor issue that the movie faces is with the character of the husband.
Acorn doesn't have season two yet, but I'll be watching it if it comes. An agricultural estate owner in northern Italy awakens from a five-year coma to discover the life he knew turned upside down, and to learn that he is suspected of a murder of which he has no memory.
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Jeong-won is a complex character going through complex emotions and Han Woo-yun portrays them like a seasoned pro. The different emotions she brings to her face in the short scene where she first gets the news of the perpetrator’s arrest over the phone are extraordinary, as is the scene in the car with her husband or even the emotional breakdown near the end. Lots already has been said and portrayed in films about the actual act of sexual assault and more still of its immediate effects on the victim and those around her.
The appropriately stripped-down look fits perfectly with who these characters are, which is why the few instances in which music is used feel somewhat out of place as they pull the film in a more melodramatic direction. While a lot of the complex Michel-Thomas relationship has long and semi-obscure ties to the past, Thomas’ connection with Mona takes place entirely in the present. As she explains, in another bit of blunt dialogue, she finds it hard to be gentle with Alex, who, like most children can be patience-testing at times.
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A man in his early thirties returns to the rural farm of his childhood and rejoins the family struggle to get by. I wasn't sure I was going to enjoy this movie because it seemed to move at a snail's pace. Without realizing it until half way through the movie, I discovered that I had established an emotional relationship with each character, a development I wasn't expecting.
And, once again, Sarah Lancashire was outstanding. There are no featured reviews for Back Home because the movie has not released yet (). Tensions rise and old wounds resurface when a man returns to his family's farm in France. Verified reviews are considered more trustworthy by fellow moviegoers. I thoroughly enjoyed this very Italian crime thriller/family drama now streaming in the U.S. on Acorn TV under the title "Back Home." It's all great fun and kept me bingeing through the twelve episodes.
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Thomas renews old acquaintances and friendships and from conversations we learn stories about the family during his absence. Things don't fall into place neatly; the reasons for Thomas' estrangement from his family are never clear, although there are tantalizing hints involving his father and late brother. The ending is open and all choices are difficult. The title “Way Back Home” does seem confusing for a while but ends up being befitting as the movie reaches its closure.
Stay up-to-date on all the latest Rotten Tomatoes news! Tap "Sign me up" below to receive our weekly newsletter with updates on movies, TV shows, Rotten Tomatoes podcast and more. Jeong-won lives an unassumed life, juggling her work as a swimming instructor at the youth centre and preparing for an impending house move with her doting carpenter husband Sang-u. The two are trying to have a baby, with no success so far.
It is the first feature from Paris-born filmmaker Jessica Palud, a former assistant director who has worked on several features from one of France’s greatest humanist filmmakers, Philippe Lioret . Lioret actually produced the film and also co-wrote the script with Palud and mono-monikered screenwriter Diasteme . For as long as I can remember, I've been watching movies, but my introduction to Asian cinema was old rental VHS copies of Bruce Lee films and some Shaw Bros. martial arts extravaganzas. But my interest in the cinema of the region really deepened when I was at university and got access to a massive range of VHS and DVDs of classic Japanese and Chinese titles in the library, and there has been no turning back since. Drawn Back Home is one of the best gay themed films that I have seen in a very long time. I have watched this movie at least a dozen times.
Her quiet life, however, is thrown into turmoil one day when she receives a phone call from the police saying that the man who allegedly raped her ten years ago has finally been caught, an incident which she has so far hidden from Sang-u. Jeong-won struggles to decide whether and how to tell him after all these years, while her adoptive parents, Sang-u’s employees, who are aware of what happened, try to convince her to not keep her husband in the dark for too long. Victims of sexual assaults may report the crime against them to the police, but often the perpetrators walk away unscathed, never caught. The victims try to push forward with life as best as they can, never really forgetting what happened to them but trying to lock up the incident in a remote part of their minds. But what happens if, years later when the victim has seemingly moved on, they find out that the perpetrator has been caught? This is the central idea behind Park Sun-joo’s debut film “Way Back Home” (not to be confused with the Jeon Do-yeon starring 2013 film of the same name), which premiered at Busan International Film Festival.
But Park Sun-joo’s film is not interested in that. Instead, she focuses on the human story and on the relationships that are strengthened or broken by the ghosts of the past that come catching back on you, while letting the actual event feel like a subplot or a mere plot device to the more important story. The emotions and their corresponding actions that Jeong-won goes through are very raw and feel authentic.
Yes, he is indeed a genuinely likeable character who the audience can mostly empathise with, but this leaves him being a bit one-dimensional, even when his wife is being rather unreasonable in her determination to not talk to him about the incident. Putting oneself in his place, which this film in fact makes you do with every character, you would be frustrated, even angry, which would be very natural but that never comes to be. Just when you think you might finally get to see a different shade to him, he comes back out with an umbrella for his wife to shade her in the pouring rain. In the Drome region, in southeastern France — further east than the original Lot department of the novel — agrarian families struggle to get by. But this might be news for Thomas , who is returning to the family farm after a dozen or so years in Montreal, where he works in a restaurant.
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