WATCH THE TRAILER HERE
First, the Recap:
Immobilizing, debilitating discomposure. If we would find ourselves in this radically disquieted state of being, most would potentially crumble entirely under its weight, feeling no ability to see a way out, even becoming a prisoner to the air of hopelessness it engenders. As with everything, however, the means to emancipate oneself from such a dark place does exist within–if we’re truly willing to confront it and take those first few steps towards the light. Jamie (Katie Vincent) finds herself facing this daunting task via her ongoing battle with extreme agoraphobia. Yet, once she loses her beloved therapy dog and is forced to consider leaving the still unsettled comfort of her apartment, it is a journey to self-discovery and conquering abject fear that ensues. Will it be an attainable path to freedom–or an overwhelming venture in defeat?
Next, my Mind:
This became the fourth short film and fifth overall opportunity this critic has had to witness a collaboration involving writer/director/producer/cinematographer Usher Morgan and producer/editor/actress Katie Vincent, and as with all the previous efforts witnessed, it’s NO surprise at ALL this newest project is another undeniable victory for the pair. Taking on a wholly realistic, sometimes harrowingly gut-wrenching, completely affecting, deeply emotional, persuasively compelling, ultimately hope-filled view of a serious, highly impairing disorder that is suffered by 1-2% of adults in the U.S., the film wastes no time in showcasing with definitive potency the crippling panic and sometimes sheer terror an individual can experience when dealing with it while also illustrating a willingness to make us realize that it CAN be overcome, even when the road to reach that place of liberation can be elusive and just as frightening.
The narrative follows one young woman’s fight with the ailment through the context of a sudden loss of her much-needed therapy dog and the subsequent decisions she must make to find the internal fortitude to not allow it deter or dominate her desire to do what it takes to find the precious source of security that is all too uncommon in her daily existence. Utilizing a combination of real time events along with several flashback sequences that effectively provide the backdrop for so much of her plight, the film also doesn’t shy away from touching on another particular thematic circumstance involving the doctor/patient relationship that only adds further tension to the story as a whole. I personally like when films maintain their core focus while still allowing for certain amounts of sidebar elements to be presented such as this, for when executed with precision and true intent, as is the case here, it really does enhance the grander picture being portrayed.
It also becomes a brilliant study and a deftly and soul-stirringly delivered exploration of agoraphobia’s impact on a person, to the extent that one particular scene in the film is so blatantly, shockingly haunting that it honestly made we wonder how Vincent came out the other side of it unscathed in mind, body, and spirit (think actress Elyse Price in Morgan’s epic horror short “Trapped Inside“) which is really just a testament of how fantastically well-done the scene was written and enacted. But it is done so in order to really make a point about the realities of agoraphobia and, one hopes, aids in raising awareness in the viewer’s and world-at-large’s mind about the much greater need to address this and other illnesses and to never grow weary about having compassion and offering assistance to those facing them. Additionally, another piece of magic this film offers is an equally tantalizing exercise in an agoraphobe’s perception of their surroundings and how there can even be twists it what’s real vs. disorienting illusion, smartly tackled here to lead up to the film’s beautifully heart-warming finale.
Visually the film is, again expectedly, crisply shot with an intelligently designed mix of close-up and distance imagery that brings out the specific facets of the lead character’s dilemma with a force that the viewer simply cannot miss being directly influenced by, as it flows with clearly defined purpose to paint a portrait of brokenness, then total disquiet, then the initial foray towards release. In the moments when placed perfectly to accompany the given scene, Christopher North‘s original music score lends itself to upping the emotional quotient with atmospheric, evocative ease. What I felt also gave the film its resonance is the sheer starkness of it, which only brought out the more anxious aspects of the film’s narrative with unfeigned, steadfast resolve while also then allowing the pivotal instance of sought-after joy stand out all the more and at the quintessential juncture.
I have always been impressed with the ever-fluctuating, consistently dynamic, and all-around evident talent being unveiled each time Vincent takes to the screen (see “Prego“, “Pickings“, the aforementioned “Trapped Inside”, “Windblown“) whether as lead or in support, and all I know is that she is a constant, engaging, multi-faceted, fully committed actress who deserves notice. Here, she takes us on one unequivocally and dramatically impassioned roller-coaster ride through the role of Jamie, a woman paralyzed by the utmost fear of being in open, populated spaces thanks to her being afflicted with agoraphobia. Having gained a therapy dog at the behest of her therapist, some sense of peace has been found. But, when the dog goes missing, the ramifications equal a series of choices that are crushing and chaotic yet also inspiring and poignant, experienced in a series of emotive occurrences past and present that shape Jamie’s eventual decision to rectify the situation.
To say Vincent embodies the distraught, overwhelmingly agonizing, willpower draining, yet finally lightened journey the character encounters would be a massive understatement. As with so many efforts where copious amounts of emotion must be performed to an extent where OVER-acting it can be a serious danger, Vincent not only nails it, but flat out takes your breath away with the consuming rawness of the performance given. Truthfully, watch the film folks, because this critic isn’t sure words could do this actual justice. It simply continues to show me how versatile Vincent is, period. Bravo, bravo, bravo!! The only primary supporting, but still key, effort is delivered by Sebastian Arcelus as Jamie’s perhaps a little TOO willing therapist Dr. David Ackerman. One must also mention, admittedly, the absolutely adorable furry “actor” who appears as Jamie’s support dog as well.
In total, “Homebound” resoundingly cements Morgan and Company’s sterling reputation in the indie film community as the aboundingly capable, altogether consistent gem of filmmaking prowess they are, here presenting us with another entirely grounded, influentially immersive dive into the realm of struggle and determination, fear and freedom, and the always present actuality of indie film’s dominant presence when it comes to telling overtly human stories while being an example of what the art of film should really be about–undisguised fervor and artistry.
If you have opportunity, check out the film as part of the upcoming LA Shorts Film Festival HERE.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
