This German-language ‘psychological thriller’ draws on the familiar world of Polanski films such as Rosemary’s Baby (1968), The Tenant (1976) and Repulsion (1963). It opens with a short sequence which teases us with a possible ending. I won’t reveal its content. We then flashback to the moment when Jessica, an ambitious young cello player, moves into a spacious unfurnished apartment in an old traditional Berlin apartment building with her boyfriend Lorenz. After an impromptu celebration with friends who helped them move in with some furniture, Jessica and Lorenz have a private party which proves too loud for their new neighbour upstairs, Hilde. Almost immediately, we know that Hilde is a disturbing figure and we wonder if life for Jessica will mirror that of Rosemary in Polanski’s thriller. Jessica is home most of the time, practising on her electric cello which she monitors through headphones. Hilde, we see, can look down into Jessica’s apartment which doesn’t have curtains or blinds.
Jessica doesn’t have time to think too much about her neighbours. First, she and Lorenz have to entertain her parents – her miserly father is paying half the rent. Then she discovers that she has won a very prestigious prize and is to be the sole German representative at a music competition in Moscow. She must spend the next few weeks in intense study so that she can play her piece not just with accuracy but with real emotion. Apart from her trips to see her music teacher, she is alone in the apartment during the day. The last thing she needs is the feeling that someone is watching her or somehow undermining her concentration . . .
‘HomeSick’ is an interesting and quite precise title that needs the precise presentation of the upper-case ‘S’. It’s an interesting example of an arthouse film playing a very careful game with genre conventions. (It first appeared at the Berlinale.) I think it works well for several reasons. Esther Maria Pietsch is particularly good as Jessica. She presents a young woman who is attractive but not ‘pretty’. She has a real physical presence that suggests determination and a stubbornness not to be daunted by what she sees as ‘strange’ goings-on. This makes it more unnerving when she does show signs of vulnerability. Austrian writer-director Jakob M. Erwa and his DoP Christian Trieloff make the most of a well-chosen apartment block which almost becomes another character. Shot in ‘Scope, the rooms look immense with high ceilings and the lack of carpets, curtains and wall coverings allows sounds to penetrate the apartment and bounce off surfaces. Music is important whether it is diegetic in the form of Jessica’s playing or non-diegetic as a thriller/horror score by Christofer Frank. (The music school where Jessica plays for her teacher is another rather spooky building with empty corridors.) The director did his own casting so he must take credit for choosing Tatja Seibt as Hilde who works very well as Jessica’s perceived tormentor. Matthias Lier as Lorenz has the other main role as the sympathetic Lorenz who in reality can have little bearing on what is essentially Jessica’s story.
I’d recommend HomeSick to anyone who wants to see a well-made thriller with real intelligence and a strong central performance. Some of the promotional material suggests a Michael Haneke influence. I’m not sure about that but I do wonder if the director draws on aspects of J-horror in a film like Dark Water (Japan 2002). HomeSick isn’t a horror film as such but it does negotiate that boundary between thriller and horror expertly. Perhaps that early scene in which Jessica’s parents come for dinner soon after the young couple move into their apartment is more important than first seems the case?
HomeSick is released on DVD and online in the UK on February 12th via Matchbox Films.