Directed by: David Bradburn
Written by: David Bradburn
Starring: Tom McElroy, Jake Moore, Lindsay Rathert
It’s true that today’s generation cannot replicate the care and treatment given to them by their parents when they were growing up. The busy lifestyle and the race for earning countless bucks have extirpated basic decency. Emotions have been substituted with luxury. You flaunt not the strength of your family but the vastness of your property. Older folks are registered into the care facilities due to the unavailability of their progenies.
David Bradburn’s Home begins with an image of optimism. A man (Jake Moore) fondly feeds his father (Tom McElroy), who is suffering from a disease that has apparently left him paralyzed. He cannot feed himself, and as per the man’s wife (Lindsay Rathert), he cannot understand what’s happening around him (the man protests otherwise). The couple undoubtedly has a job that pays well. The house looks splendid, the furniture is polished, and there are no specks of dust as far as the eyes reach. Although these outer surfaces appear to be firm and shiny, the people living in them are crumbling and rotting.
The wife complains that her husband has turned all dull and humdrum. She accuses him of trapping her in a lifeless marriage after presenting an alluring version of himself on their dates before the union. The husband, in reality, has just shifted his priorities. He wants to dedicate his time to look after his old man. He puts in an effort to strike a balance between his father and his wife, but the latter does not welcome his acknowledgments. Despite being in the same room, she is more responsive to the notification sound of the phone than the soft voice of her husband.
The cause for this rift sits motionless in the picture. I imagine if the father could have responded to the situation, he would have left the house to prevent further deterioration. There is a shot at the end which shows how sad the father is and how he blames himself for the current condition. That face, that expression speaks many words, and not one of them seems to blame the wife for her impertinent demeanor. The camera begins from a distance to reflect upon affluence. As it slowly progresses towards the father, it lifts the veil from its beautiful aesthetic to reveal its decomposing interiors. By the time the word “home” makes an appearance, it vibes of something viperous. The film suggests that inclusivity is no longer synonymous with family and that home has attained a more exclusive status.