Elsewhere, the capacity for drama surrounding the stigma of their relationship is left entirely untapped, events feel strangely inert despite the abundant potential. Charlotte (played with a gamine air by Ine Marie Wilmann) seems like someone happy in her life, but cast asunder by recent events. Her best friend with whom he she has always been inseparable has just married and her father is critically ill in hospital - her mother (Anneke von der Lippe) has always been inattentive. This confluence of events prompts her to seek out the half-brother that she has never known; Henrik (Simon J. Berger). There is clearly a spark when they first meet as they bond over a mother who has been absent for both of them in one way or another. Both of the leads are assured in the roles though Berger has a lot less to work with. It is Charlotte whose arc is really being explored, but the oblique nature of the screenplay provides little hint as to why the events matter. Emotionally overwrought when her father eventually passes away, this is like a crucible in which she must forge an identity for herself - though if this incestuous tryst is merely a catalyst for this, it seems a strange choice. Either way, the cinematography is a cold Scandinavian hue that speaks to the isolation felt by the characters and the scenes in which Charlotte and Henrik meet and flirt due crackle with tension. It's a more confident directorial display from Sewitsky after the enjoyable Happy, Happy, but the script for Homesick just doesn't quite land.
The Toronto International Film Festival takes place from 10-20 September 2015. For more coverage, follow this link.
Ben Nicholson | @BRNicholson