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First, the Recap:
It’s what they want for me. A sentiment associated more often than not with a child’s point of view when it comes to moving on in life and regarding the hopes, dreams, successes, and relationships being pursued into adulthood by their parent or parents. Yet, with expectations comes the notion to believe that if certain of these pursuits doesn’t line up with said desires, disappointment, regret, and hurt can suddenly overwhelm and discourage. It’s a touching series of moments for Roya (Aysha Kala) and her partner Charlie (Amy Molloy) whom share quietly but passionate instances together. But when a sudden circumstance devastates Roya’s world, it begins to cause questioning in her mind about everything she’s pursuing, including Charlie. A trip home stirs up more emotional turmoil while trying to reconnect with her distant brother Saad (Viraj Juneja). Can Aysha find her way back or lose everything else she treasures forever?
Next, my Mind:
The reassessment of choices, the cost of contemporary love, the painful reminder of loss, a sense of confidences sent askew, and the willingness to fight for what we believe in and desire, all of it and more is explored via this 12-minute short, part of the “LGBTQIA Programming” at the inaugural 2019 New York City South Asian Film Festival sponsored by Toyota USA. Created and brought to life by director Poonam Brah, writer Iman Qureshi, producer Isabel Steuble-Johnson, and executive producer Brek Taylor, the film, which had its New York Premier, is a potent, arresting, and expressive exercise in one young women’s loss of identity in the wake of a familial tragedy. It calls to mind the fact that the pressures we are under, whether via parents or self-imposed, engrain themselves deep within us, perhaps more than we truly realize, and when a catalyst forces us to look at who we are, it can then be a source of both aching introspection and bold awakening, as this critic felt was the case here.
Additionally, there are the cultural angles being looked at, which only add to the weight of this film’s message, as seeing the total anguish Roya encounters goes well beyond just the surface affliction in heart she has because of the situation unfolding, but its more the anguish of initially rejecting something she’s so immersed in, treating it as if its suddenly this toxic thing that would not be looked highly upon and therefore must be tossed aside out of sheer fear. It takes this radical departure from what she holds dear to bring her back around to her cultural/societal balance and apply it in a refreshed way that allows her to have the renewed freedom to chase that which she wishes and know it’s ok to do so. It’s a volatile journey and certainly holds nothing back in depicting these extremes, but that’s what makes the film so powerful and vivid. While I’ve stated in past reviews about films of this grander subject matter not necessarily being a personal preference and that any physical intimacy portrayed is a little awkward for me to view, I cannot state strongly enough that it’s all executed here not only tastefully, but with innocent allure and beautifully emotional poignancy in the depth of love it evokes. In short to the filmmakers: “Bravo!!”
Kala puts forth a wonderfully formidable, evocative performance in her role as Roya, a young woman initially secure in who she is and what she wants, diving wholeheartedly into life and all that is has to offer, including a highly cherished relationship. But, when one phone call (sidebar: a common catalyst in a few of this year’s films) bears news that shatters her joy, it all comes crashing in and the anxieties of cultural expectations takes over as she quickly pushes Charlie away. Traveling home and then made to find now-missing and desperately needed kindness and affection from her dissociative brother, Roya’s path to inward redemption, peace, and sincere happiness again is a road fraught with obstacles and her own ruptured thoughts until events take a turn that break those chains and set her free. As much as she battles the approval she doesn’t believe she would have had, it makes her illumination that much more believable and tangibly felt, and Kala absolutely initiates those feelings within the viewer with impassioned, fervent ease.
Primary supporting roles start with Molloy as Roya’s object of affection, Charlie, a beautiful and vibrant soul whom we can easily tell relishes what she has with Roya. The visible hurt she feels when pushed away and the subsequent encounters after the proceedings take the turns and twists they so is perfectly portrayed by Molloy. Secondly, there is Juneja as Roya’s brother Saad, who has his own means by which to cope with everything the family is now experiencing. His somewhat blatantly “carefree” manner about the situation more than bothers Roya, and it takes a few mildly tense interactions for him to come around an be there for her as he should, and this is all well played by Juneja throughout. Additional supporting turns arrive from Goldy Notay, LucyJane Quinlan, Valmike Rampersad, Joshua Diffley, and Mary Denn. In total, “Home Girl” delivers a keenly emotive narrative that causes us to consider the power of loss, love, tradition, acceptance, and the need to realize how important it is we take a strong stand for who we are.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
