Home is an unusual film and difficult to categorise. It seems straightforward enough at first as a documentary record of one woman’s ‘adventure’ over four years (2011-2015) and covering 20,000 miles. Sarah Outen has one prime objective – to complete her long journey around the world using only her own muscle power. She must be the ‘engine’ that makes her travel possible by rowing boat, kayak or bicycle. She can’t accept any lifts and if her kit fails her she must swim or walk. It’s a dangerous and exciting personal trip into the unknown.
All of this seems clear enough but the film’s tagline hints at something else when it reads ‘An outward journey inward’. This suggests that Sarah has two ‘journeys of discovery’ – one concerned with the world she encounters each day, both the environment she moves through and the people she meets, and the other the things she learns about herself from those encounters.
Sarah’s double ‘journey’ also reminds us that a documentary has a narrative just like any fiction feature and this one most resembles the film genre of the road movie. Road movies traditionally set out to find new experiences in different places and to explore how the central character changes as a result of those experiences. The road movie is the archetypal American adventure and the idea of a story that is a ‘journey’ for the central character is also an American idea with Hollywood films often presenting a ‘quest’ which the hero must undertake to reach a final goal. We might ask: “What is Sarah’s goal?” Will she know when and if she achieves it?
But narratives don’t have to be ‘linear’ and they don’t have to strive for specific goals. Sometimes the story goes full circle and the characters arrive back where they started but still changed in some way. What is important is to note that ‘documentary records’ are inevitably ‘narrativised’ – made into stories that are accessible for audiences and offer the same pleasures as fiction narratives. How will this affect Sarah’s story?
In the famous spoof Western movie Blazing Saddles, the hero rides around a giant rock in the desert and discovers an orchestra playing the exciting musical score accompanying his ride on screen. It’s a brilliant way of exposing the artifice of cinema and the ways in which audiences are prepared to suspend disbelief. As Sarah kayaks along a turbulent river or cycles across the desert, how often do we stop to wonder who is using the camera? Sometimes it is Sarah herself but her options are limited. We know there must be another camera operator and a support crew. Home does in fact refer to the support and logistics crew needed to bring the kayak (‘Nelson’) or the bicycle (‘Hercules’) to the right place when Sarah arrives in her rowing boat. Sometimes we even see the crew. None of this diminishes Sarah’s achievement or takes away from the ‘authenticity’ of the documentary experience. But it does refer to a particular filmmaking practice.
Home is edited by the Canadian director Jen Randall of Light Shed Pictures. Officially she is also co-writer and director of the film. It is often said that the meaning in films is ‘created’ in the edit suite. Home is a 92 minute film created through careful selection of shots from hundreds of hours of footage shot by nine different camera operators. Jen Randall started work on the film only after Sarah had returned.
Home is now a film but Sarah’s journey was also a blog, followed by people all round the world. The film is now on release in the UK and also winning prizes at the specialist film festivals for ‘adventure films’ like Kendal Mountain Festival and Banff Mountain Film Competition. The film’s release has been organised mainly through independent cinemas and Sarah has often appeared in person at these screenings to conduct a Q&A. Screenings are listed on the website below and the next appears to be in Peebles in January 2020. When the screenings tour is completed the film will become available on VOD.
Home is extremely well put together and the narrative works. There are many surprising moments and several relationships of different kinds that Sarah experiences over the four years. This certainly isn’t 90 minutes of only staring at seas and rivers and mountain roads – though they do feature of course. Jen Randall has said that the key ‘Eureka moment’ for her searching through all the hours of footage was when she looked at the footage of the Pacific crossing. This gave her a sense of the ‘shape’ of the narrative. It is also the most emotional and dangerous part of the whole story.
Many people say that they have been inspired by Sarah’s story and these kinds of adventures are both popular with film and TV audiences and arguably necessary for our culture. The film includes romance, friendships and Sarah’s own personal battle with mental health issues. This is a film that should get you feeling for Sarah and thinking about what she has achieved.
You can find out a great deal more on these two websites