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In Masaan, Ghaywan told the story of caste and tradition in the pilgrim’s paradise of Varanasi, charting the life of a cremator (played by Vicky Kaushal). That movie took several prizes at Cannes, including the FIPRESCI and Promising Future Prize. Since then, Ghaywan has embarked on a quest of trying to tell a story about India whose voices are not heard.
From Article to Screen
Homebound takes its cue from the article Taking Amrit Home, which documented the arduous trips migrant workers made during the pandemic back to their villages of origin. But there’s a friendship at the heart of the tale, between two men from different oppressed communities—played by Ishan Khatter and Vishal Jethwa. One is Muslim, the other is Dalit, and they seek to transcend centuries of oppression by enlisting in the state police force.
The cast also includes Janhvi Kapoor, and their on-screen chemistry made it to the Cannes audience. Ghaywan, who along with lead producer Karan Johar, hugged the cast during the overwhelming reaction. Big names from South Asian cinema like Mira Nair and Saim Sadiq turned up to lend their support.
There was one particularly surprising key champion for the film Martin Scorsese, who’d gotten involved as executive producer through French producer Mélita Toscan du Plantier. Scorsese, who had already advocated restoration work on classic Indian films, said the depth of the story and the culture it represents drew him to the film. He also applauds Ghaywan for making a film that contributes to Indian cinema in a significant way.
A Deeply Personal Journey
Ghaywan, a member of a Dalit family, was personally affected by the story. Even though he never experienced discrimination personally in his corporate life, he is still acutely conscious of his Caste. He says Homebound is an effort to humanize people who are frequently just seen as statistics.
His reminiscing about a Muslim boy named Asghar in Hyderabad he made friends with while growing up influenced the relationship between Ali and Kumar. For Ghaywan, their relationship transcends something more elemental — the idea of shared humanity, the human spirit’s ability to endure even in the face of systemic tyranny.
Ghaywan's plan was to fictionalize his lead characters' backstories until his script was interrupted by the off-screen lives of his characters and their COVID-19 struggles. He set the film in India’s North, where he shot in the countryside, seeking to convey the simplicity and complexity of village life. The portraits are tender, intimate, and quietly still strong, and the narrative patiently lulls us into a broader understanding of how crises are universal.
With its rich emotional texture and realistic treatment, Homebound is life for India’s outcaste of the outcastes. By engaging people with individual stories, the film encourages people to take a deeper look at a fractured society and to acknowledge the common humanity that we all share. 'It all started with an article' - Ghaywan's second Cannes outing concludes on the profound film note Sports: Where is Indian football headed?
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