“A powerful and evocative examination of the fickle boundary between life and death.”

They say home is where the heart is – but some people spend their last years in unfamiliar surroundings. The tendency to place those who are not able to fend for themselves in care homes continues to be a contentious discussion that emerges whenever the topic of how society cares for its elders is brought up. Director Frelle Petersen explores this subject, which forms the foundation of his incredible debut Home Sweet Home (Hjem kaere hjem), a title that initially seems to be ironic until we realize exactly what it represents and find its more nuanced layers of meaning. The film follows Sofie, a woman who has recently moved to a new town with her young daughter after a bitter divorce, taking up a position as an attendant in an old age home. It is here that she encounters many fascinating residents, each one having a story that enriches her life and provides her with the wisdom and guidance she needs to navigate various challenges. However, such a vocation comes with its inherent risks; particularly those centered around the emotional connection she makes with the residents, many of whom undergo their final transition while under Sofie’s care. A heartfelt, intricately woven drama in which Petersen explores a number of profound themes, Home Sweet Home is a powerful and evocative examination of the fickle boundary between life and death that is both profoundly sad and exceptionally moving. 

Death is a peculiar subject that has been the source of debate and discussion amongst philosophers and poets alike for about as long as we have been sentient. Yet we don’t seem to have gained any clearer understanding throughout history, at least from a philosophical and social perspective. Home Sweet Home focuses on many different topics, but right at the very heart of the story is a series of conversations about the inevitability of death. Petersen examines it through the lens of a young woman who has grown cynical and depressed (a result of various circumstances), and her relationship with a group of people who are in the final stages of their lives but who are dedicated to reminding Sofie not to let time pass her by. The connection between generations has been extensively explored over the years, but there’s something unique about how Petersen’s film approaches these themes – perhaps it’s how it centers equally on the residents of an old age home and the people who look after them; in most other works the focus is usually on only one, with the other group being viewed as unnecessary obstacles. In this film there is a genuinely compelling depiction of how these institutions function, all filtered through the eyes of someone trying to lose herself in her work but not realizing that this process will be the most insightful for her eventual growth. Whether focusing on the camaraderie of people who have pledged their lives to help the vulnerable and frail, or looking at the friendships formed between these generations, the film is a poignant reminder of the value of compassion.  

At its core, Home Sweet Home is about a young woman who works as a caretaker, spending her days infusing compassion into every interaction, but who finds herself hopelessly lost when it comes to her own domestic life. The film navigates these two elements, following Sofie as she provides support and assistance to relative strangers but struggles to give herself the same grace and affection, choosing instead to dwell on her personal quandaries until she finally realizes the way forward. There is an abundance of compelling ideas that inform this film, but it’s the director’s firm commitment to creating something simple but effective that makes a considerable difference. Throughout the film, Petersen actively avoids cliché as far as possible, a tricky endeavor considering there are certain aspects of this story that could not be overlooked without it becoming false – regardless of how much we hope otherwise, a number of the residents in the film do pass away or succumb to ailments that leave them permanently changed. Rather than pandering to an expected, more heavy-handed method of exploring these ideas, Petersen instead looks for something more nuanced. A soft, subtle tenderness persists throughout, and we find it is most prominent in the lead performance by Jette Søndergaard, who commits wholeheartedly to a challenging role – the film is built around her character as she navigates obstacles in both her domestic and professional lives, which gradually start to intersect in fascinating ways. The supporting cast consists of a combination of professional veterans (such as Finn Nissen, who delivers one of the most heartbreaking and raw performances of the year) and non-professional actors, plucked from the surrounding neighborhoods and enlisted to lend this film a sense of authenticity that makes a profound difference as the story unfolds.   

Home Sweet Home is a challenging but worthwhile film since its efforts to examine some difficult themes with compassion and nuance are fundamental to its success. It is notable for its stark realism, showing the day-to-day routine of both the residents and staff of an elderly care facility, punctuating it with a very gentle charm in which a subtle tenderness persists throughout the story and makes it richer and more intriguing. It actively avoids becoming too overwrought in how it handles its more downbeat moments while not sacrificing the moments of genuine emotional resonance. This is all done to provide the audience with an abundance of insights into the lives of these people, who are seemingly quite ordinary, yet are rendered with astonishing detail. It manages to be life-affirming but also deeply realistic about its subject matter, clearly not possessing any delusions and refusing to lead the viewer to believe that a neat, happy resolution will emerge in the aftermath of this melancholy. It doesn’t linger on the sadness in any way – instead, it positions the conversation to acknowledge that ageing is not an obstacle to be feared, and death is not a tragedy but rather an inevitability. Navigating difficult conversations with grace, respect and even a few moments of gentle humor, Home Sweet Home is a powerful portrait of people in the final stages of life, as seen through the eyes of caretakers who dedicate themselves to helping those that need it the most, and who find their own existential salvation in the process.  

Image copyright: Rolf Konow