Home

Isabelle Huppert is a French mother of three, whose husband goes off to work in a big green diesel Mercedes estate. Their youngest is a boy, about 8. Then a girl, about 14, who's studious and questioning. Eldest is a late-teen daughter who wears as little as possible, chain-smokes and sunbathes in a bikini on a lounger in the garden, with heavy metal pounding from a ghetto-blaster.

This scenario and scene is featured and remains with us most of the time, in one form or another. Oh, except that their rather run-down shabby house sits right bang next to a motorway, that carries no traffic, except as the biggest car park imaginable for the family, who also use it as an extension to their property. They need to cross this bitumen desert to reach civilisation; work, shops and school for the kids.

One day, the boy sees trucks on the carriageway, whilst out on his bike. Soon after telling his father, who doesn't believe him, the motorway is resurfaced overnight. Radio reports say that it's the missing link in the national network and there's huge interest from the motoring public. The two youngest anticipate some new projects coming on.

What happens next is bizarre, believable and really rather frightening. And comical. By trying to live their (rather odd) lives exactly as before - crossing the road for school, shopping, bikini-sunbathing - all a few feet away from juggernauts and during a heatwave.

The way that the stakes against them get higher and naturally seem more bizarre, the more they try and carry on regardless, perhaps in the same way as if you tried to re-route an ant trail. Toward the end, you will start wondering where on earth all this can possibly lead to - I'm not going to spoil it for you!

I did think of one of Michael Haneke's early films when watching 'Home' that had this sort of 'in reverse' psychology, but which was decidedly cold, un-humorous - about a perfectly ordinary middle-class Austrian family, who coped - and then didn't.

You can, of course, take Swiss director Ursula Meier's fable as a comedy, or an environmental statement or a family drama, or all three. Being very different, it grabs the attention, without ever being ridiculous and somehow manages to sustain this element and story all the way through. It's also decidedly 'Continental', the bathing habits of the eldest daughter, naked and smoking in the bath listening to her Walkman, with the rest of the family chatting away next to her, mostly clothed. This - and other forms of a natural lack of inhibition seems healthy and refreshing, especially compared to our British straight- laced ways.

I give 9/10 as it's an ambitious film in both its audacity and originality and the fact that it gets away with it, becoming a sort of psychological horror. . .For a film to be so memorable is rare these days, although the title, unfortunately is. All the players, especially Huppert (naturally) are uniformly excellent and totally believable, as is their environment, which IS worrying....

Have you ever found yourself wondering about those people who live right alongside the freeway - the anonymous folk whose lives we peer into briefly as we hurtle our way past their apartments and houses en route to our destinations? Well, the artists who made "Home" certainly have, and the answer they've come up with makes for a fascinating, one-of-a-kind cinematic experience that, even more than most movies, has to be seen to be appreciated.

The family in "Home" leads a relatively carefree and decidedly unconventional lifestyle. Their house stands adjacent to an abandoned freeway, which they use as their own private recreation area. They also view bath time as a communal experience (this being Switzerland and all).

All is going reasonably well (despite some mild familial tension here and there), until one day and without any warning, the roadway is reopened to traffic, shattering the family's once-peaceful existence with the sounds of whooshing cars and honking horns, the penetrating odor of exhaust fumes and fossil fuels, a diminution of privacy (especially during traffic jams), and a nonstop assault on the senses. Even getting to the other side of the road – to school or to work – becomes a daily, death-defying game of chicken with speeding vehicles whose drivers have no intention of slowing down for bothersome and unwelcome pedestrians.

This tremendously odd little film is obviously intended as a parable about the oppressiveness and chaos of modern life as it encroaches ever more forcefully onto the peace and tranquility of a rural existence. The family members become increasingly ill-tempered, paranoid, neurotic, even violent as the outside world inexorably presses its way into their once-placid lives.

But far more than the characters and themes, it is the astonishing mise-en-scene that ultimately works its way into the viewer's psyche and that makes it hard not only to avert one's eyes during the course of the movie but to get back to one's own "reality" once it's over. Director Ursula Meier's work here is reminiscent of Luis Bunuel in one of his less playful moods, as she focuses on a group of everyday people trapped in a surrealistic nightmare from which they are unable to awaken. It is definitely a case in which the scene becomes an integral reflection of the psychological states of the characters.

Isabelle Hupert and Olivier Gourmet play the parents; Madeleine Budd and Kacey Mottet Klein their two children; and Adelaide Leroux, Gourmet's nubile daughter from a previous marriage who spends most of her time sunbathing for the highly appreciative motorists and truckers who keep whizzing on by.

Unique and unforgettable.

Home is a very strange movie. It is a family with two teenage daughters and one young son living in the middle of a huge golden field of grass. A freeway opens right by the house. It gets noisier. The drivers leer. The drivers honk. The noise becomes non-stop. There is a traffic jam and people get out of their cars and stare. The family cannot deal with this and slowly go mad, cementing up the windows. The little boy is the only sane one in the movie. He handles all this as just so much adventure. One daughter is the sort you love to hate, full of herself, selfish, totally absorbed with her appearance, idle, rude. The other is just plain crazy. Mom and Dad are a very loving caring patient couple. It is a movie where the circumstances gradually deteriorate. I think of Roman Polanski's Repulsion for a similar effect. It is like a horror movie -- unpleasantness for the sake of unpleasantness. There are no murders or zombies, just frayed people who cannot cope with the situation. There is quite a bit of nudity, but I just put that down to a difference in the way the French view nudity within the family. It is not sexual. The ending made no sense to me. It just ended things in mid air without any sort of resolution. The whole movie left me queasy, and wondering if perhaps it were some great metaphor than went right over my head.

Kacey Mottet Klein who plays the little boy Julien is an amazing actor. Not once did I notice he was acting. He was completely believable. In one scene he begged his Mom to let him out of being locked in the bathroom. It was heart-melting. I could not stand that frail little character entombed with the rest of that wacko family.

Very interesting and surprising film starring one of my favorite actress, Isabelle Huppert. The film describes the changes that take place into an ordinary family who lives next to a highway.One day the highway is opened, and still life turns into a nightmare.Each member of the family deals with the problem in a different way. All of them try to keep on doing the same things in their own way, but things go wronger day by day.The cast play such excellent roles that you can feel the anxiety as they do.I was asking myself during the film Why don't they leave ? But there are no answers, only questions. Enjoy the film and try to find why.

I recently saw this at the 2010 Palm Springs International Film Festival where writer/director Ursula Meier was on hand at my screening for an audience Q&A following the film. Meier explained that she got the idea for the film by seeing a house near a busy highway and letting her imagination run away with what kind of people would live there and the effect of being so close to a highway on them. I think we have all wondered about the inhabitants of homes we've seen while riding in a train or car and seeing homes without freeway barrier walls exposed to the noise of the traffic. In this story a family of five live in home where a major highway has been built running through their front yard. this major thoroughfare was never completely finished or opened to use so it has sat unused for years. The family uses the pavement for their personal use and has all their lawn furniture, etc. on it. One day the family learns the highway will be finished and opened at last and the result has a dramatic effect on their lives. They have lived there for 10 years. The mother has a fear of going out in public, the father is claustrophobic, the oldest daughter wants to escape from her boring existence at the isolated house, the youngest daughter is a mathematics and statistics whiz with an accelerated phobia for toxins and the boy is a pretty normal kid who likes hanging out with his friends. This is a strange and quirky film and pretty good as a debut feature for Meier. It was Switzerland's official submission to the 82nd academy awards for Best foreign Language Film. Some very good films come out of Switzerland but I don't think this warrants a BFLF submission. This may too slow and strange for many so I can't recommend it to a general audience but it's different and I would give it a 6.5 out of 10.