’Homebound’ review: Dir. Sebastian Godwin [Fantastic Fest]

Two of the stars of television series Mr Selfridge, Aisling Loftus and Tom Goodman-Hill, reunite in Sebastian Godwin’s Homebound. On the ITV series they played employee and boss, but here they play couple Holly and Richard, as they travel cross-country so that Holly can meet Richard’s children for the first time. When they arrive at the secluded homestead they find Richard’s three children: Anna (Raffiella Chapman), Lucia (Hattie Gotobed), and Ralph (Lukas Rolfe), but Richard’s ex-wife Nina is absent. Deciding to carry on regardless, the group get to know one another, but as time goes on, and Nina remains missing, Holly realises that something strange is happening. 

This is a classic example of a film that should be viewed as cold as possible, Homebound houses some really intriguing elements of mystery. As we join the world through the eyes of Holly, it is through her that we experience this story. From the opening meeting between Holly and Anna there is an air of awkwardness. Initially it is brushed off as a nervy first meeting, but as the story progresses it becomes clear that there is something off about the whole family, including Richard. It’s unclear exactly how long Holly and Richard have been together, but however long it has been, Holly doesn’t appear familiar with the side of Richard that she experiences here. His behavioural changes begin with him letting the kids have some alcohol with dinner, something that appears quite innocent, but Richard then seems to make one bad decision after another. As Holly’s opinion of him unravels, the audience is positioned to question not only Richard, but also Holly’s actions, which appear to exacerbate the situation. 

Homebound is the feature debut of writer and director Sebastian Godwin, and it already demonstrates a huge amount of skill and talent. In terms of narrative, there is little that “happens” in the traditional sense, Godwin allowing the pressure from the single chamber-like environment to act as a vessel for tension. Having only a few story points works as a positive in this instance as it enables the atmosphere and suspense to marinate in the air. Godwin is incredibly restrained with what is shown, but at the same time there is a strong chaotic energy to the things that Holly sees and experiences that keeps the pace pushing forward. 

Themes of family and belonging play front and centre, Holly reveals early on that her own family is practically non-existent and all she has ever wanted is to belong. She bites off more than anticipated with Richard’s children however, and the interplay between them and Holly is executed perfectly. The new prospective stepmother meeting the future children is nothing that hasn’t been seen before, yet the angle Godwin approaches this from works perfectly. With so much of the story resting on Holly’s shoulders it needs an actor with a strong resolve to bring her to life. Loftus is exceptional in the role, playing ‘woman on the edge’ with just the right balance of emotions, and she gives a beautifully refined portrayal. Goodman-Hill also does excellent work with Richard. Although he potentially has the easier character, Richard is still complex, and after having played a lot of stuffy Englishmen, it’s great to see him able to cut loose. 

Sebastian Godwin’s feature debut will keep you on the edge of your seat as it weaves an intricately complex story of family and belonging. The journey from start to end is perilous, but it is one that will entice and excite viewers as they attempt to figure out the direction the film is headed in. Godwin does such a good job at working their monstrous magic that when the story finally reaches its climax, and Homebound’s truth is revealed, you will be chilled to the core. Brilliantly acted and perfectly constructed, Homebound is the next best British psychological horror thriller.  

Homebound was reviewed at Fantastic Fest 2021.