Homework Review: Sloppy Writing Dilutes An Otherwise Good Concept

Many a time, filmmakers struggle to translate a sincere and well-meaning idea into an equally compelling cinematic experience. A thought that appears profound in the mind often loses its depth and impact during the transition from idea to script, and then from script to screen. This is precisely what happens with Homework, released across Assam on May 15, 2026. Despite its relevant subject and honest intentions, the film never fully realises its emotional and cinematic potential.

Written and directed by Achinta Shankar, Homework is a children’s film that explores modern childhood, parenting, and the increasing academic burden imposed on children at an early age.

The subject is relevant, emotionally resonant and, more importantly, necessary at a time when childhood is gradually becoming more structured, competitive and mechanical. The problem, however, lies not in the idea but in the manner in which the idea has been executed.

The film revolves around young Appu, a school-going boy eagerly awaiting his summer vacation in his grandfather’s village with his parents, maternal uncle, aunt, and cousins.

Despite the pressure of studies and homework constantly looming over him, Appu remains excited about escaping the monotony of city life and spending time in the village. However, the night before their scheduled departure when his parents say they cannot accompany him because of office commitments, Appu finds it difficult to accept the disappointment.

The narrative takes a warmer turn when his grandfather arrives the following day and takes him to the village. What follows is Appu’s gradual exposure to a world completely different from the one he has been accustomed to in the city.

In the village, he begins to discover childhood beyond books, assignments and routine discipline. Through simple experiences and everyday interactions, he slowly learns lessons about life, relationships and happiness that formal education rarely teaches.

At its heart, Homework tries to convey that childhood is not merely about academics, examinations, competition and material attachments.

It is also about freedom, innocence, emotional bonding and discovering joy in the smallest and most ordinary moments of life.

In many ways, the film also serves as a reflection on contemporary parenting, in which academic success often overshadows emotional growth.

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The intention behind the film is undeniably honest and heartfelt. In fact, the story’s emotional foundation is strong enough to connect with viewers, particularly parents and children instantly. However, the film struggles to evolve beyond its basic premise.

The biggest issue with Homework is that it feels better suited to a short film than to a full-length feature. The screenplay begins on a promising note and holds attention initially, but gradually loses momentum as the narrative progresses.

Several sequences are unnecessarily stretched, and the film repeatedly revisits the same set of activities without adding anything substantial to the protagonist’s emotional journey.

Fishing in the pond, swimming, playing in the mud, evening prayers and visits to the ‘naamghar’ certainly establish the village atmosphere well. Still, the film limits itself almost entirely to these moments. Village life, especially from the perspective of a child experiencing it for the first time or after a long interval, offers endless possibilities for exploration, wonder and emotional discovery.

Unfortunately, the screenplay rarely moves beyond its repetitive visual and emotional patterns. As a result, the film begins to feel stagnant after the first 20 to 25 minutes.

This is where the writing begins to weaken the impact of the central idea. The emotional depth the film seeks to achieve often remains confined to dialogue rather than naturally emerging from situations and character interactions.

Instead of allowing the audience to experience childhood organically through Appu’s journey, the film repeatedly explains its themes through conversations that often sound too heavy for a children’s film.

The dialogues, in particular, are one of the weaker aspects of the screenplay. Many of them feel overly theatrical and literary, almost resembling lines from a serious amateur stage play rather than natural conversations between family members and children.

Children’s films work best when emotions are conveyed with simplicity and subtlety, but Homework often opts for verbal explanation over emotional observation.

The saving grace of the film is undoubtedly its child actors.

Surjyanga Jeeu Margherita as Appu delivers a sincere and believable performance. His innocence and emotional vulnerability work well for the character.

Brittanta Nayan Kashyap and Alankria Padmarag Goswami complement him effectively, and together they create believable chemistry as cousins. Their interactions are perhaps the most natural portions of the film and bring a certain warmth whenever the screenplay begins to feel sluggish.

The adult actors, however, do not leave a similar impact. Debajit Majumdar as the grandfather delivers a restrained performance, but the writing never fully develops his emotional bond with the children. Since the relationship between the grandfather and Appu forms the film’s emotional backbone, the lack of stronger chemistry between them weakens the overall emotional payoff.

Similarly, Rimpi Das, Chinmoy Chakravarty, Gayatri Mahanta and Podmarag Goswami perform their roles adequately, but their characters remain largely functional within the narrative.

They neither contribute significantly to the emotional arc nor develop memorable interpersonal dynamics with the children.

One of the film’s biggest disappointments is the underutilisation of seasoned actor Hiranya Deka, who appears as a local physician. Instead of giving him a layered or meaningful role, the film once again resorts to the familiar comic template that Assamese cinema has associated with him for years.

Considering his calibre as an actor, the makers could have explored the character with far greater depth and sensitivity. In its present form, the role feels entirely inconsequential and could have been removed from the narrative without affecting the story in any meaningful way.

Directing children’s films is never easy because it requires emotional sensitivity and the ability to see the world from a child’s perspective.

While Achinta Shankar’s intentions remain honest throughout the film, the storytelling often feels filtered through an adult’s perspective rather than a child’s emotional lens. The innocence, spontaneity and unpredictability that define childhood are only occasionally visible beneath the film’s overt messaging.

Yet, despite all its shortcomings, Homework still manages to strike an emotional chord to some extent, primarily because Assamese cinema has rarely explored children’s films in recent years.

There is a sense of cultural familiarity and emotional warmth in the film that makes it watchable despite its flaws. The subject itself deserves appreciation, and one genuinely wishes the execution had matched the sincerity of the idea.

With tighter editing, more nuanced writing, stronger emotional layering and a more immersive exploration of childhood, Homework could have evolved into a deeply moving and memorable children’s film. Instead, it remains a well-intentioned film with a relevant message that never quite realises its full cinematic potential.

Rating: 1.5/5

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