Don’t come to his house and wait for the horror movie Ghosts. While many jumps are terrifying, the beginning of Remi Weekes effectively combines them with an exciting story of grief and defeat.
His homeland follows Bol (Sope Dirisu) and Rial (Wunmi Mosaku), a couple who fled the conflict in Sudan to start a new life in an unnamed English city. After surviving a dangerous journey, they finally isolate themselves and their colleague Mark (played by Matt Smith) finally gives them a home. The house on the title deed has been plagued by vermin and cold, but the couple has been told repeatedly that they should be grateful to have such a necessary house. It is bigger than mine and often indicates that they should be satisfied with their actions. They are also given strict instructions about the rules they must follow to keep their home. Friends, candles and looking for a job are forbidden.
Relationships that have already been broken are increasingly put to the test when Rial clings to the language, food and clothing of his homeland. She is still emotionally attached to Sudan and the people she left behind or who didn’t survive her trip to England, while Bol tries to adapt to life in England and urges Rial to do the same.
The house they should be thankful for won’t last long. The walls are littered with ghosts who take advantage of the pain and guilt of the couple to survive what their neighbors and friends have not survived. As the horrors begin to become unbearable, the couple, even worse, find it difficult to stay and haunt the spirits of their past, or to return to a country where they fought so hard to leave.
At best a bunch of pity, at worst hostility from the neighbours. They find out just as quickly that what’s outside their house can be as dangerous as what’s inside. One of the most striking scenes in the film is the journey, in which Rial goes to a doctor’s office using a draft plan to get there.
His country of origin credibly shows the horrors of life in the new country, whilefights against PTSD and the unstoppable immigration system. The two leaders are doing incredible things. Dirisu portrays Bola as a versatile character, desperately trying to fit into his new culture, and as a blind rage when Real threatens to lose his home. Mosaku’s memories of lost relationships are also among the most heartbreaking scenes in the film. Both feel like close and thoughtful characters, as Felicity Evans, Toby Venables and Weeks’ scenario proves, creating a couple with far more depth than the norm in the horror film about the haunted house.
The film collapses a bit when the fear mechanisms that work in the beginning overwhelm each other and eventually repeat themselves. Despite the coolness of the plot it sometimes slides over the track, even in the Lights Out style the sample comes out when the switch of the towing system is pressed. However, there are some interesting attempts to keep the fears in mind, including the way Weeks shows the difference in perception between a few spirits torturing her. Bol gets a much more hostile attitude than Real from his unwanted tenants, who encourage the couple to tear each other apart. The house installation also cools efficiently. Bare and pierced walls, faulty electricity and suspicious neighbours, combined with the sinister sound design of the film, make a suitable and sinister location for a premiere.
While ordinary fears don’t always work, His Home is an incredibly confident first film directed by Remy Weeks. He confidently intertwines scenes showing the hostility of neighbors on a British estate who were injured while fleeing a war-torn country. It is a fascinating story that describes the experiences of refugees and their attempts to overcome the trauma they cause. His house is an impressive and moving story about the horrors of a fleeing war, only to be treated with contempt, not pity, by others.
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