“The Way Home” — A Tender Korean Film About a City Boy and His Village Grandmother
The Way Home is a heartwarming Korean film that tells the gentle story of a city-raised grandson and his rural grandmother. The young boy, Sang-woo, has no affection or attachment to his grandmother or her remote village.
The film begins with a conflict between Sang-woo and his mother over their decision to send him to the village.
Reluctantly, Sang-woo sets off to stay with his grandmother. He is clearly unhappy and doesn’t even greet her upon arrival.
Sang-woo’s mother, who has separated from her husband, is struggling to rebuild her life and find a job in Seoul, the capital of South Korea. With no other option, she leaves her son in her 76-year-old mother’s care and returns to the city the same day.
The grandmother is mute and lives alone, her back hunched with age. But despite Sang-woo’s arrival, she doesn’t even get a chance to celebrate his presence.
Disappointed with the rural lifestyle, Sang-woo finds the house shabby and dirty. He even calls his grandmother “crazy.” Yet, no matter how much neglect or disrespect he shows, his grandmother’s love for him remains unwavering.
Raised on fast food like pizza and burgers in the city, Sang-woo asks for meat dishes. His grandmother, despite her frailty, walks in the rain to get a chicken for him—and even falls ill afterward.
Whether it’s helping him to the toilet or trying to buy him shoes, the film is filled with quiet yet powerful scenes that reflect her unconditional love.
In the early part of the film The Way Home, the grandson Sang-woo shows no affection toward his grandmother. He’s far more interested in his video game than in engaging with her. One day, the game’s battery runs out, and he asks his grandmother to buy him a new one. But she doesn’t have the money.
The scenes that follow portray the restlessness and frustration of a child from the city when deprived of modern gadgets like mobile phones or video games. Though a newcomer to the village, Sang-woo desperately tries to trade his grandmother’s silver hairpin for batteries — a moment that’s both sad and telling. He even throws away her slippers and breaks household items in anger.
But this irritation and defiance aren’t unique to Korean children. Kids like Sang-woo — restless, impatient, and emotionally detached — are increasingly common in many Nepali households too. Similarly, the grandmother’s unconditional love, despite being ignored or insulted, is a universal story — not just a Korean one.
Perhaps that’s why the grandmother in The Way Home feels so familiar, echoing the lives of many elderly people living alone in remote corners of Nepal. The film captures the emotional divide between urban and rural upbringing, showing how children raised in cities differ in mindset, behavior, and lifestyle from their rural counterparts.
Sang-woo is different from the village kids. He prefers to play alone, avoids socializing, and struggles to bond — not just with his grandmother but with other local children too.
As the story unfolds, viewers are left wondering:
Will the rural experience and his grandmother’s quiet presence change him? Will Sang-woo return to the city as the same boy, or will he become someone different?
The evolving relationship between a silent, aging grandmother and a loud, demanding grandson is touching and believable. Remarkably, Kim Eul-boon, who played the grandmother, had never acted in a film before, while Yoo Seung-ho, who played the boy, has since become a popular actor in Korea.
Set in an empty house, along deserted roads, in a quiet village, The Way Home moves with simplicity. Despite its low budget, minimal characters, and everyday events, the film leaves a deep emotional impact.
It subtly explores fragmenting family bonds and the effects of migration on Korean society. With strong themes of child psychology and the challenges of old age, it was beautifully directed by Lee Jeong-hyang.
Rooted in Korean social realities, the film became a massive success when released in 2002, ranking as the second highest-grossing film in South Korea that year and earning about $25 million at the box office. It also won Korea’s prestigious Grand Bell Awards for Best Film and Best Screenplay.
