It will be easy for audiences to dismiss this film. In fact, the ambitious project by French-Swiss director Ursula Meier demands a lot from the casual viewer. It is obvious Ms. Meier wanted to say a lot about the disintegration of a family at the center of the story that we first meet on a happy, playful note.
One always wonders about those houses built so close to a highway, or train tracks. The noise alone, would drive the inhabitants mad. As this tale begins, the place where it is located seem almost an idyllic place in which to raise a family. True, the house is situated a few meters away of what appears to be a highway under construction, or perhaps abandoned. The children are able to cross the road without any problems. Michel, the working father leaves the car on the other side of the roadway and Marthe, the mother, can tend to her work without anyone looking at her.
This is a family where the bathtub is shared by parents and children without any question of modesty on anyone's part. Judith, the older daughter loves to sunbathe in the space next to the house clad in a bikini. Judith object when a conservative swim suit arrive for her sister Marion. The younger brother, Julien, loves to run freely in his bicycle.
On the surface, everything seems to be well with the family. Unfortunately, one day, workers arrive to resurface the highway. With that, an infernal traffic drives the family into a frenzied state. Gradually, the inner fabric of what made these five people stick together, begins to erode. Judith is the first one to decamp, when a traffic snarl stops traffic in front of the house. The others try noise stoppers in their ears, to no avail. Michel, in desperation begins to fix the problem by replacing all doors and windows with cinder block, hoping to isolate themselves from the outside noise. Marthe, who has been the most affected by the changes in their lives, wakes up one day and begin to take free herself and the others from the madness they have endured.
"Home" in spite of its premise, doesn't feel claustrophobic at its darkest moments. Ms. Meier wanted perhaps to make a statement for the obvious changes that progress, by way of a new highway, brings. After all, don't we all want to escape to other, more interesting, and quieter places? The family's foundation is shaken by the advent of outsiders looking in on them. They were fine by themselves, but now, even the most menial things like hanging clothes to dry take a different meaning.
The film is worth a view by serious fans. Isabelle Huppert, one of the best actresses around, makes us feel her pain and guilt in her heart. Oliver Gourmet is also effective as Michel. Adelaide Leroux, Madeleine Budd, and Kacey Mottet Klein are seen as Judith, Marion and Julien.
The cinematography by Agnes Godard draws us into the oppressive world Ms. Meier created. Ursula Meier is a serious director who likes to explore for her audience simple things one wouldn't even think about, which is the key to understanding this bizarre tale she has created.
One always wonders about those houses built so close to a highway, or train tracks. The noise alone, would drive the inhabitants mad. As this tale begins, the place where it is located seem almost an idyllic place in which to raise a family. True, the house is situated a few meters away of what appears to be a highway under construction, or perhaps abandoned. The children are able to cross the road without any problems. Michel, the working father leaves the car on the other side of the roadway and Marthe, the mother, can tend to her work without anyone looking at her.
This is a family where the bathtub is shared by parents and children without any question of modesty on anyone's part. Judith, the older daughter loves to sunbathe in the space next to the house clad in a bikini. Judith object when a conservative swim suit arrive for her sister Marion. The younger brother, Julien, loves to run freely in his bicycle.
On the surface, everything seems to be well with the family. Unfortunately, one day, workers arrive to resurface the highway. With that, an infernal traffic drives the family into a frenzied state. Gradually, the inner fabric of what made these five people stick together, begins to erode. Judith is the first one to decamp, when a traffic snarl stops traffic in front of the house. The others try noise stoppers in their ears, to no avail. Michel, in desperation begins to fix the problem by replacing all doors and windows with cinder block, hoping to isolate themselves from the outside noise. Marthe, who has been the most affected by the changes in their lives, wakes up one day and begin to take free herself and the others from the madness they have endured.
"Home" in spite of its premise, doesn't feel claustrophobic at its darkest moments. Ms. Meier wanted perhaps to make a statement for the obvious changes that progress, by way of a new highway, brings. After all, don't we all want to escape to other, more interesting, and quieter places? The family's foundation is shaken by the advent of outsiders looking in on them. They were fine by themselves, but now, even the most menial things like hanging clothes to dry take a different meaning.
The film is worth a view by serious fans. Isabelle Huppert, one of the best actresses around, makes us feel her pain and guilt in her heart. Oliver Gourmet is also effective as Michel. Adelaide Leroux, Madeleine Budd, and Kacey Mottet Klein are seen as Judith, Marion and Julien.
The cinematography by Agnes Godard draws us into the oppressive world Ms. Meier created. Ursula Meier is a serious director who likes to explore for her audience simple things one wouldn't even think about, which is the key to understanding this bizarre tale she has created.