Mathias J. Skoglund’s ‘The Home’ is a cinematic triumph that merges the deeply personal with the eerie, offering audiences a profound journey through grief, family, and the terror of the unknown. Written and directed by Skoglund, the film presents a gripping narrative about Joel (Philip Oros), a man who reluctantly returns to his childhood town to help his mother Monika (Anki Lidén) settle into a care facility after suffering a stroke. What begins as a somber exploration of dementia and loss quickly morphs into a chilling, supernatural thriller, leaving viewers haunted long after the credits roll.
The emotional core of ‘The Home’ rests firmly on the performances of its two lead actors, Oros and Lidén. Oros, in the role of Joel, delivers a heart-wrenching portrayal of a son caught between love, resentment, and fear. His reluctant return to his mother’s side is fraught with unresolved emotions, yet as he witnesses the devastating effects of Monika’s stroke, a deep compassion begins to surface. The transformation Monika undergoes is utterly moving—Lidén imbues her portrayal of the mother with both vulnerability and fragility, that is until the moments where she evokes something unsettling. This evocation eventually escalates to the point of pure terror.
The film’s strength lies not only in its powerful performances but also in its ability to weave the supernatural into the fabric of a deeply human story. As Joel begins to sense something unexplainable following his mother’s stroke, the atmosphere of ‘The Home’ grows thick with tension. Skoglund expertly uses both the physical and psychological spaces of the care home to create a suffocating sense of unease. The building itself becomes a character—its sterile, impersonal walls hiding more than just the frailties of the elderly residents. It is in this setting that the supernatural elements are introduced subtly, never feeling forced but rather growing organically from the grief and disorientation that both Joel and Monika experience.
Credit: Malin LQThe film’s pacing is deliberate, allowing its slow-burning tension to develop gradually. Skoglund has a knack for creating moments of quiet introspection that contrast beautifully with the mounting dread of the unknown. The hints of the supernatural that Joel witnesses feel like a natural extension of his emotional turmoil, and the film doesn’t shy away from exploring the fragility of memory and identity. It’s a meditation on what it means to lose someone, both physically and psychologically, and the fear of what may linger when they’re gone.
The film’s visual approach also enhances this atmosphere with muted tones and lingering shots of desolate landscapes that mirror Joel’s emotional state. There’s a mournful beauty in the way the camera lingers on moments of isolation, both physical and emotional, that perfectly complements Skoglund’s direction. The sparse but effective score also heightens the sense of dread while also underscoring the film’s quieter, more meditative moments.
In a genre often dominated by jump scares and predictable tropes, ‘The Home’ is a refreshing departure. It doesn’t rely on external shocks to generate fear; instead, it taps into something deeper—the fear of losing one’s sense of self, the fear of what might be waiting for us in the shadows of our memories, and the fear of the unknown that follows us even after death. The film leaves lingering questions about what is real and what is imagined, making it a perfect subject for post-viewing contemplation.
‘The Home’ is a film that transcends genre conventions to deliver a poignant exploration of memory, loss, and the supernatural. With exceptional performances from Oros and Lidén, expert direction from Skoglund, and a haunting atmosphere that stays with you, this film is a must-see for fans of psychological thrillers and those seeking a more nuanced, emotionally resonant horror experience. The film is as much a meditation on the human condition as it is a supernatural thriller, and it’s a movie that will undoubtedly resonate with anyone who has ever confronted the fragility of both the mind and the heart.
