“Back Home” Review: Beyond Horror Lies Commentary on Social Injustice

In the increasingly diverse world of Hong Kong cinema, “Back Home” emerges as a brilliant piece of artistry, serving not just as a spine-chilling occult horror but also as a pointed critique on the city’s shifting socio-political climate. It stands as a beacon of ingenuity, setting a benchmark that may prove challenging for future filmmakers to match.

The silver lining for Hong Kong’s film landscape in recent times has been the emergence of new local talent and the crossover of stars from other domains, such as Cantopop. While these transitions don’t always result in cinematic masterpieces, they do offer niche projects an opportunity to gain attention and avoid being overshadowed in a saturated market.

Anson Kong Ip-sang, a Cantopop boy band Mirror member, ventures into the world of acting, seeking redemption after a lackluster performance in “Love Suddenly“. His portrayal of Wing in “Back Home” is a revelation. Wing’s character, traumatized from a young age by his uncanny ability to perceive spirits through his “third eye,” endures unspeakable pain. This unique gift becomes his curse, estranging him from friends, causing his father’s abandonment, and pushing his mother Lan, portrayed by Bai Ling, to the brink of insanity. Lan’s deep-rooted connection to Cantonese opera further accentuates the story’s cultural undertones.

Seeking refuge from these haunting memories, Wing migrates to Canada, living in self-imposed exile under the protective wing of his uncle. Over a decade of self-deception makes him believe he has rid himself of his eerie gift. However, a distressing incident, where Lan attempts suicide and is found with her tongue severed, compels Wing to return to Hong Kong and confront his haunting past.

The narrative then delves deeper, transforming the backdrop of a crumbling public housing estate into a cauldron of folk horror. Wing finds solace in another tormented young soul, portrayed by Wesley Wong. As Wing navigates the estate’s mysterious tragedies, the character of Tai Bo emerges, playing the village elder and an artist specializing in paper offerings, adding layers of superstition and tradition to the plot.

Debutant writer-director Nate Tse Ka-ki, recognized in credits as Nate Ki, crafts this tale with exceptional finesse. He beautifully entwines elements of traditional Chinese superstitions with an overarching mood reminiscent of David Lynch’s iconic eerie ambiance, lending the film an otherworldly aura.

However, for those acquainted with Hong Kong’s contemporary milieu, “Back Home” transcends its horror genre. The movie, at its core, is a biting satire, echoing the city’s undercurrents of social and political unrest. Director Tse has candidly expressed his vision, drawing parallels between Wing’s quest to escape his supernatural sight and Hong Kong’s populace striving to turn a blind eye to societal injustices. The allegorical elements peppered throughout the movie – the younger generation’s predisposition to see ghosts, Lan’s symbolic act of cutting out her tongue, and the enigmatic history of the estate’s once resplendent seventh floor – all serve as a metaphorical reflection of societal issues.

In essence, “Back Home” is more than just a horror film; it’s a poignant commentary that strikes a chord with its audience, challenging them to look beyond the apparent and decipher the profound messages interwoven within.

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