In the long history of the Academy Awards, only three films from India, Mother India, Salaam Bombay, and Lagaan, have succeeded in making the final stage of competition for the Best International Feature Film. Despite being the world’s most prolific film-producing nation, the top prize remains elusive. This year, when the Film Federation of India (FFI) reviewed a list of the biggest blockbusters and most talked-about Hindi films (including Superboys of Malegaon and Bengal Files) to finalise that Neeraj Ghaywan’s Homebound will represent India at the Oscars, there was a hope that the historic jinx may break this year. When the film secured a spot on the shortlist of 15, it was expected that Homebound would surely find a spot in the final 5 on January 22; however, the jury decided not to go further with it.The selection of Homebound as India’s entry sparked a celebration on social media. Based on Basharat Peer’s 2020 New York Times essay, the film follows the journey of two friends, Shoaib and Chandan (portrayed with raw intensity by Ishaan Khatter and Vishal Jethwa), navigating the harrowing 2020 lockdown.A still from ‘Homebound.’This is not conventional art-house cinema that has been praised for avoiding the sloganeering or political rhetoric often expected from films examining themes of poverty, migration and social fissures. The film is a haunting exploration of human resilience when the state institutions meant to protect life failed miserably during the COVID calamity. Though the Academy jury has halted Homebound’s journey for the Oscars, the film has stimulated a serious conversation regarding cinema’s social responsibility and the need to depict everyday social realities on screen. Despite Homebound’s rural setting and unconventional characters, the film’s social realism and sensitive portrayal of human bonding resonated with the audiences. Its strength lies in a simple yet engaging narrative about Dalit-Muslim comradery, offering a profound emotional depth to the mundane psychological traumas that these vulnerable groups suffer. By using emotive troupes of friendship, social conflicts and aspirational individuals as the driving force, the film achieves a rare resonance that is both intimately Indian yet connects to the other struggling people across the globe. Here, I discuss three reasons, showcasing how despite its Oscar’s snub, Homebound stands as a landmark Hindi film of the neo-realism genre, breaking the dominant conventions of contemporary cinema.Global connectApart from the film’s bold realism, good performances and emotive social drama; the film also entered global news for receiving a nine-minute standing ovation at the Cannes Film Festival. It was seen as an acknowledgment of the film’s superior artistic quality and its emotional resonance with the audience.A still from ‘Homebound’.Ghaywan, having already won two awards at Cannes for Masaan, has established himself as a reputed director of the international film circuit. His ability to blend art-house sensibilities to build an engaging social narrative has a global appeal. The film has been appreciated by influential artists, reviewers and film scholars as a crucial entry in the zone of neo-realistic social drama, endorsing it as a lead contender for the Academy Award. Importantly, the association of legendary filmmaker Martin Scorsese as an Executive Producer of the film provided it significant soft power in Hollywood. It was expected that Scorsese’s advocacy would ensure that the Oscar jury, often overwhelmed by hundreds of entries, would give Homebound the focused attention it deserves. Such initial build-up for the film was an assurance that Hindi cinema can reach a global audience through its exceptional cinematic craft and innovation in the narrative style. Film’s artistry, social message and bold narrative has elevated the stature of Hindi cinema, breaking the conventional mould that pejoratively recognises Hindi cinema for its noisy spectacle, action drama and myths. Neo-social realism Homebound is a gritty, deeply emotional exploration of India’s modern social fabric. Western audiences often associate Indian cinema either with the grandeur of Lagaan and Baahubali or the “poverty-porn” tropes of Slumdog Millionaire. This film carves a middle path that transcends these stereotypes. It avoids the hyper-sensationalism often seen in 1970s art-house films (like Damul) regarding rural poverty. Instead, it tells an emotional story of two young men struggling to improve their lives through sheer grit. The film honestly showcases the psychological trauma faced by the working class without falling into the trap of political preaching or melodrama.A still from ‘Homebound.’We see an authentic depiction of the shifts in India’s institutions following economic liberalisation. The film’s heart-wrenching realism examines the pitfalls of development and the tragedies facing migrant labourers. Its poignant representation of the aspirations of marginalised youth, and its ability to weave together class and gender issues, makes it a masterpiece of Indian neo-realism.The subaltern heroThe deep-seated caste prejudices against Dalits and communal anxieties targeting Muslims have increasingly become normalised in our daily social and political discourse. These biases do not just exist in the abstract; they actively govern our social hierarchies and class relationships. Homebound is a courageous intervention into this reality. It should not be viewed merely as a chronicle of the COVID-19 lockdown; rather, the pandemic serves as a stark backdrop to bring the stories of subaltern groups into the mainstream, initiating a ground-breaking disruption of the cinematic status quo.Historically, Hindi cinema has been dominated by protagonists from elite social strata, systematically ignoring the lived experiences of marginalised groups. Homebound shatters this traditional mould. By centering the narrative on a Dalit lead alongside a Muslim protagonist, the film masterfully explores the intersectionality of caste and religion. It highlights the profound psychological trauma inflicted by systemic exclusion, forcing the audience to confront their own social anxieties.The film is a fearless critique of the existing social order. It demonstrates how Dalit agency persists even under exploitative conditions, suggesting a possibility for a more equitable future. By situating these “invisible” identities at the heart of the drama, Ghaywan pushes the boundaries of conventional cinema. Homebound does more than just tell a story; it serves as a moral mirror, demanding that the audience acknowledge their political responsibility in the emancipation of marginalised communities from these harrowing conditions.A new beginning for Indian cinemaFor a nation waiting since 1957 for its first International Feature win at the Academy Awards, Homebound was a bold contender. The rejection is surely a heart burner for the art-lovers in India. However, its significant participation in the Oscar race helped us reimagine Indian cinema with new and bold characteristics. It promotes cinema that not only displays admirable performances but also forwards a courageous social message to build a better society. Homebound shall be seen as a coming-of-age film for Indian cinema on the world stage that has forced the global audience to look, unblinkingly, at the invisible lives that keep our world turning. Harish S. Wankhede is Assistant Professor, Center for Political Studies, School of Social Sciences, Jawaharlal Nehru University, New Delhi.