Homebound: A Return Home, and to the Ghosts We Carry
A tender, devastating tale of friendship, marginalisation, and the fragile dreams shaped by an unchanging system.
Originally published on Global Voices
In the 21st century’s urban modernity, where conversations often revolve around equality, mental health, personal freedom, and a society without discrimination, how much of the lives of the marginalised ever truly reach that modern world? Some films confront this question like a sharp slap across the face. Homebound is one such film, where the promise of modern India collides head-on with the lives of those it routinely overlooks.
The story opens in the dead of night, with two young men travelling by truck to sit for an exam, chasing the modest yet luminous dream of becoming police constables. A dream that would bring them a little dignity, a little stability, a roof of their own, perhaps enough to lift them above the invisible lines of poverty that mark their lives.
Homebound could have been a familiar tale of friendship, but under director Neeraj Ghaywan’s soulful vision, it becomes a portrait of a generation caught between survival, betrayal, and hope. Ghaywan, often known for socially conscious cinema, and his globally acclaimed directorial debut “Masaan” (2006), has built a distinct body of work across film and long-form streaming, often centering his narratives around caste, class, gender and identity. The film is based on a widely discussed New York Times report by journalist Basharat Peer entitled “A Friendship, a Pandemic and a Death Beside the Highway,” which told a heartbreaking story of friendship and was published in 2020 at the peak of the COVID-19 pandemic.
What distinguishes “Homebound” from other coming-of-age stories is its refusal to soften the edges of caste and religious discrimination. Although equality is guaranteed in India’s Constitution, the caste system persists as a deep-seated social structure that determines access to opportunity and justice. In India, violence based on caste is one of the most brutal manifestations of social stratification, taking many forms, sometimes referred to as abuses, including caste-inflected speech, economic boycotts and all the way to systemic rape, lynching and mass atrocities.
The film brilliantly captures the deeply interwoven nature of how caste, religion, and class shape a person’s life and destiny, and how these forces define the boundaries of what these young men are allowed to imagine. It gathers the weight of generations crushed under discrimination, those who whisper to themselves, “Tomorrow will be kinder,” while reality charts a far harsher path, revealed with devastating clarity in the film’s final moments.
Set in a remote Indian village, the narrative follows Chandan and Shoaib, two childhood friends bound by affection, shared struggle and an unspoken understanding of the social hierarchies that shadow their lives.
Chandan and Shoaib are born into a world where merit counts for little, where caste and faith dictate a person’s worth. Who belongs to the “upper caste”? Who is Dalit (lower caste)? Who is Muslim? And, more importantly, why does being Muslim instantly cast a shadow of suspicion? Each time it feels as if destiny might tilt in their favour, a new trial emerges — quiet, merciless, inevitable. Chandan, a Dalit, clears the police exam. Shoaib, a Muslim, does not. The divergence is neither dramatic nor overstated; it is presented with the matter-of-fact cruelty familiar to anyone who has lived through such systemic inequities.
When Shoaib takes a job selling water filters, the humiliations arrive quietly and persistently — customers refusing water touched by him, colleagues making tired jokes about Pakistan. None of this is framed as exceptional. It is routine. That is the point. Chandan grapples with a different burden — his own refusal to accept the caste reservation intended for him, choosing instead to compete in the General category in a painful attempt to distance himself from a stigma he never asked for. But the film makes clear that moving beyond caste is rarely a choice available to those born into its lowest rungs.
Just when the weight of their suffering settles on the viewer, a brief scene delivers another jolt: Chandan’s sister, academically capable and eager to study further, is denied a college education because the family must prioritise the boy’s future. Gender discrimination, the film suggests, thrives even in households fractured by other forms of injustice.
Chandan’s mother’s cracked heels become a haunting motif of the generational inheritance of hardship. Meanwhile, Shoaib carries the burden of his father’s crippled leg, dreaming of the day he can afford to heal him. Their aspirations burn like small, stubborn flames: a home of their own, a uniform that commands respect, a life that lets them stand tall. Amid these storms, a quiet, tender love blossoms in Chandan’s heart — soft as a secret, fragile as hope.
Ghaywan complements these intimate ruptures with visual landscapes stripped of artifice. Local trains, cramped factory quarters, labourers soaked in sweat — nothing is varnished or elevated for cinematic appeal. The COVID-19 pandemic, rendered with restraint, enters the story not as melodrama but as grim context, capturing the mass displacement of migrant workers and the precariousness of life among the country’s poor.
Homebound speaks of hope but refuses easy consolation. It stands firm in the harsh realities of time, despair, and broken systems. Yet even in that darkness, the director leaves a flicker of light inside Shoaib. The dream Chandan could not complete becomes Shoaib’s torch. The performances anchor the film’s emotional register. Vishal Jethwa is deeply compelling as Chandan, carrying both ambition and vulnerability with quiet precision. Ishaan Khatter brings a palpable softness to Shoaib, a young man whose resilience never hardens into bitterness. The supporting cast is uniformly strong, though Jahnvi Kapoor, as Sudha Bharti, feels slightly out of step with the film’s naturalistic palette. Her inherent polish, even when stripped down, is difficult to camouflage.
The film has been shortlisted for an Oscar (2026), but its significance extends well beyond awards season. “Homebound” succeeds not because it attempts to speak for the oppressed, but because it listens to the silences, the compromises, the private negotiations that shape everyday survival. The film is less interested in triumph than in the quiet persistence required simply to survive, to hope, to return home. Everyone, in the end, seeks a way home — however one defines it. Homebound understands this longing. The film does not offer closure, only recognition. And sometimes, that is the more honest choice.
In its final moments, the film returns to Shoaib, who holds on to the dream Chandan could not complete. Chandan’s dream becomes Shoaib’s inheritance, a testament to the way dreams are carried, shared, and sometimes salvaged.
Some films arrive loudly, with spectacle and marketing thunder. Others slip in gently, like a breeze through a half-open window — and leave a mark that lingers long after. After watching Homebound, a line by the renowned Bangladeshi poet Daud Haider kept echoing in my mind: “My very birth is my lifelong sin.” Few sentences capture the film’s emotional terrain more succinctly.
This article is an English translation of a Bengali movie review by Shakila Zerin, originally published in Bonik Barta, one of Bangladesh's most respected national newspapers, on December 5, 2025. Shakila Zerin currently serves as Senior Sub-Editor at the publication.