HOME BODIES

***

Directed by Casey Walker.

Starring Emma Ho, Ian Ho, Ess Hödlmoser.

Science-Fiction, Canada, 97 Minutes.

Reviewed as part of FrightFest 2026

The second of Casey Walker’s films to play at FrightFest could not be any more different from his wintry period horror ITHAQA. This limited location, sci-fi fable, filmed during post-production of ITHAQA, is an effective character study that increases its unsettling claustrophobia with paranoia and possibly dystopian elements simmering underneath. 

We are introduced to Red and Blue at birth in their mysterious home. Played respectively by twins Emma and Ian Ho, the film follows them as young children as they go about their limited existence, never leaving the house and always in complete obedience to the disembodied, unnatural voice of “Papa” from behind an always locked door. Food is constantly supplied with the opening and closing of a fridge door while entertainment is provided on a daily basis via orange VHS tapes containing a simplistic children’s programme with farmyard animals. As tensions grow between the settled and content Blue and his increasingly unsettled sister, a new element is introduced into the home, although this only signals the fractured and troubling mentality of these two forever housebound children.

In contrast to its limited location there are a number of big ideas at play here. Arrested development bumps heads with a need for independence and curiosity which perhaps echoes the story of Adam and Eve. Walker's direction, executed in a complete change of style and tone from ITHAQA which is perhaps even more impressive here, is perfectly complemented by the excellent performances of the Ho twins. As Blue, Ian Ho portrays his needy character with an unsettling edge that gradually rises to the surface. This is excellently complemented by his real life sister's more rebellious portrayal. 

Without delving into spoilers, the film reaches an effective conclusion. Although a tad familiar to fans of science-fiction the film still manages to grip the viewer right up until its gradual and impressively realised final revelation. Again, this shows Walker’s increasing strength as an original voice in genre storytelling, especially in contrast to the period, blood soaked staging of his other, completely different film that plays the festival on the same day.

Iain MacLeod