Whether it was about grieving for the death of a child or anticipating an acknowledgement from an estranged lover, Homebound’s andCarta’s stories both revolved around the painful realization of having to let go and move on from the instances that paralyze us within the confines of our grief.
The colour palette used in both films corresponded to the mood being portrayed in each story. Homebound, with its dark and dreary elements presented the ideas of tragedy and death. Carta, on the other hand, was fixated on the concepts of a forgotten love and the drive to unveil its phantasms.
Homebound, there was the slow pacing and (silent) dialogues or lack thereof. I have a feeling that these were attempts to make the production seem more daunting; to emphasize the heaviness of the situation, which was losing Chloe to a horrible car accident. Instead, this arrangement gave off a dull aura that somehow tested my patience. Ironically, I found Carta’s mystery plot much more thrilling when I don’t think that that was the intention of the film. Yet, in a not very flattering light, the final conversation between Carta’s main characters left a few ‘why’s’ on my mind. Like, why the mailman was angry with the old woman just because the latter was sending herself letters. Whether it was a simple case of bad script or bad acting, it likewise spoiled what would have been an excellent story.
On the other hand, the foundations that comprised both films were interesting to observe. Carta, for one, with its blunt and simple plot, never welcomed subtlety in its story. Rather, the transition of events unravelled into one dynamic body, clearly expressing the animosity of a man in a hard day’s work and the mysteries that might as well be worth uncovering. Homebound, meanwhile, possessed only the most haunting features: the sheet-covered furniture, apparitions by the staircase, creepy statues at the cemetery. The scenes flowed mistily, as though the chain of events were meant to intertwine with one another so as not to tell a distinct time. Only a keen observer will be able to decipher the indirect elements that would eventually explain the hair-raising denouement of the film.
Homebound both turned out. The results were unpredictable twists that forced me to further process the depth of either story. Carta, with the acceptance of lost love concluded into a satisfactory, if not, happy ending. On the other hand, Homebound, with its rude-awakening, did not make me smile out of joy, yet made me reconsider to what extent happy endings should be based. I like how I could interpret either story in limitless perspectives. I think that’s always wonderful to discover when viewing a piece of art.
In the end, Carta, beyond its simplistic love story, and Homebound, beyond its fascinating take on the human spirit, and their differences and similarities, displayed a central message on vulnerability and desire and the energies that bind these together. In seemingly dramatic and well-paced directions, both films encompassed thought-provoking climaxes, in which we, as the audience, would come to realize that accepting the facts and letting go is the only way to love.
Certainly worth thirty minutes of my time.
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