Back Home

Hong Kong used to be one of the most vibrant film markets in Asia, but ever since China expanded its film empire, its output has pretty much ground to a halt. Maybe that's why I was quite taken with Nate Ki's Back Home [Chat Yuet Fan Gwai]. It's not the most creative or original film out there, not even within its own genre, but it's a capable one that has all the basics covered and scores extra points for execution. And it's been a while since I last watched a fine Hong Kong horror flick, so this turned out to be a welcome surprise.

Hong Kong horror is a rather strange beast, but not to worry. This isn't one of those awkward genre blenders with any random action or comedy bits thrown in. Not that these films can't be any fun, but they are very particular and shouldn't be judged as plain horror flicks. Ever since the big boom of Asian horror around the turn of the century, Hong Kong has started producing more straightforward horror productions, and this one fits that mold perfectly. Back Home is low on gore and extreme scares, it's more focused on supernatural events and creepy atmospheres.

Ki doesn't take many risks. The setting is an old apartment building, which allows him to play with elevators, empty units, and closed-off floors. It's very reminiscent of Peter Chan's Going Home segment in Three. Back Home mixes things up with familiar Hong Kong ghost folklore (burning paper objects to appease the souls in the afterlife and people with specific gifts who can see ghosts walk among the living), to underline the supernatural elements. Combining both worlds does little to offset the feeling that I'd seen a lot of what this film had to offer before, then again, horror is a genre that thrives on recycling.

When Lai's mother falls ill, he returns from Canada to care for her. Years ago, he was sent there because he had special powers that allowed him to see ghosts. His powers have since lain dormant, but his return to Hong Kong awakens something in Lai. The building where his mother lives has seen a fair number of deaths lately, and Lai suspects something is off on the 7th floor. When he finally sets off to investigate, all his powers return. There's more going on than just some ominous spirits roaming the premises, and Lai will have to fight for his life.

The cinematography isn't innovative or original, but it is stylish and effective. The color work and the lighting are impressive, the camera work is on point and adds to the creepy vibes, and the visual effects are proper. Everything looks polished and controlled, forgoing the cheaper look of many horror productions. The visuals make it clear that Back Home is more about mood-building and atmosphere than scares or in-your-face horror. And in a way, that is quite novel for a Hong Kong film, which are generally more about flash and dazzle.

The score is purely functional. I had to go back and skip through the film once more to get a better feel of the music, but even then, it was tricky to find any distinctive elements within. It's the kind of score that does add to the atmosphere and helps build up tension, but it behaves more like a selection of connected sound effects. It's never been a strong point of Hong Kong cinema, and this was probably the last film I'd have suspected to break that tradition, so no real surprises there. I still wish they'd put a bit more effort into it.

The performances are decent, but nothing too out of the ordinary. Anson Kong is a solid lead, though maybe not distinctive enough to shoulder an entire film. Bai Long is a seasoned actress, but she doesn't have that much to work with. The secondary cast is proper too, with a fun part for Tai-Bo as the resident old/weird guy. This being a horror film, the cast is more than sufficient, but the bar is relatively low for these types of films. As long as the performances aren't too cringy and don't actively get in the way of the mood, it's all good.

If it wasn't clear enough by now, Back Home isn't a film that thrives on surprises, so don't expect too much of that in the way the story unfolds either. A guy returns to his old habitat, falls back into old habits, discovers a nefarious scheme and gets sucked in too deep. There are some twists along the way, but at predictable moments in the plot, never truly managing to turn the story upside down. Genre fans won't mind too much, horror is mostly a simple reiteration from earlier films anyway, but if you're looking for something meatier, you're not going to find it here.

Back Home is a little treat for genre fans, in particular fans of Hong Kong horror cinema. Nothing more, nothing less. Nate Ki delivers an eerie film that toys around with familiar elements, but does so in a refined and stylish manner, at a time when nobody else is doing it. Timing is this film's biggest grace, so I'm not sure how it will hold up over time, but this time around, I really enjoyed delving back into the depths of Hong Kong's haunted tales. I do hope Ki will aim for a slightly higher bar on his next attempt, but I'm definitely willing to give him the benefit of the doubt.