Homeward

New names feature in a work that deserves to be widely acclaimed.

Akhtem Seitablaev and Remzi Bilyalov

For a first feature, Homeward comes across as a work of remarkable maturity. That is all the more surprising because its director, the Ukrainian Nariman Aliev who also co-wrote the screenplay, was only 26 years old when he made the film in 2019. It appears that the idea for Homeward came from Norvuz Hikmet who is credited as the film's assistant director but Aliev's own experiences must have also played a huge part given the depth of conviction in this portrayal of life in Ukraine today. The story told is one that can be described as a road movie. That's because it is centred on a Crimean Tatar family and on the determination of Mustafa (Akhtem Seitablaev) to bury his older son, Nazim, in Crimea next to the grave of his mother. Nazim is a victim of the Russo-Ukrainian war and the film opens in the Ukrainian capital, Kyiv, where Mustafa is collecting the body from the mortuary. With him is his surviving son, Ali (Remzi Bilyalov), who is some twenty years old and the rest of the film is devoted to showing these two journeying to Crimea by car with Nazim's body in the boot.

Homeward is undoubtedly deeply rooted in the political realities of the region: Mustafa not only wants a Muslim burial for Nazim but regards Crimea as the true home of his people despite the fact that Stalin's persecution of the Tatars there had led to the family being deported with the consequence that Mustafa had actually grown up in Uzbekistan. With the Russians again occupying Crimea, the journey there is a dangerous one as is confirmed when issues arise on crossing the border. The relevant history is occasionally touched on in the dialogue, but for the most part Aliev seems to assume that his audience will be aware of it thus making it unnecessary to spell out details. Indeed, one review I have read suggested that this omission seriously weakens the film and it may well be that for foreign viewers more details were required if this film were to stand as a potential masterpiece (similarly the final scene, one which takes on a certain symbolical character, involves a repeated incantation not translated in the subtitles and here Muslim audiences may have an advantage).

But, even if one counts these as reservations, they matter much less than might have been expected. That is because Homeward works brilliantly as a study of a father and son who are at odds but who come to understand each other better as the journey proceeds. This is the more compelling because as shown here it all rings true and we readily understand how circumstance and outlook have distanced Mustafa from his children, both the living son and the dead one. Mustafa often behaves unsympathetically - not least early on when he prevents Nazim's non-Muslim wife whom he had never met before from being present at the funeral. But his faults only add to the reality of Mustafa's character and Akhtem Seitablaev finds such depth in the role that we feel for him in spite of his failings. Remzi Bilyalov who plays Alim is in fact Aliev's cousin but is so skilled in bringing his character to life that the casting feels fully justified. By refusing to soften up Mustafa, the film totally avoids becoming sentimental and is all the more touching for that reason. Furthermore, nothing in this film is overplayed. Add some splendid photography by Anton Fursa in colour and 'Scope that captures the feel of the landscapes and you have in Homeward a truly distinguished piece of work.

Original title: Evge.

MANSEL STIMPSON

Cast: Akhtem Seitablaev, Remzi Bilyalov, Dariya Barihashvili, Viktor Zhdanov, Veronika Lukianenko, Akmal Gurezov, Larysa Yatzenko, Anatoliy Marempolskiy.

Dir Nariman Aliev, Pro Vladimitr Yatsenko, Screenplay Nariman Aliev and Marysia Nikitiuk, from an idea by Novruz Hikmet, Ph Anton Fursa, Pro Des Vlad Odudenko, Ed Olesandr Chornyi, Costumes Asya Sutyagina.

Limelite/Ministry of Culture of Ukraine/Ukrainian State Film Agency-New Wave Films.
96 mins. Ukraine. 2019. Rel: 23 April 2021. Available on VOD and virtual cinema screenings. No Cert.