I Was at Home, But
- sombre
- slow-burn
- surreal
- signature
- intimate
Sombre, slow-burn, gentle drama / german, surreal in texture. Nihilistic, intimate, measured, hand-scored across twelve axes of taste.
How every film is hand-scored →After a 13-year-old student disappears without a trace for a week and suddenly reappears, his mother and teachers are confronted with existential questions that change their whole view of life.
Our read · I Was at Home, But (2019) reads as a sombre, slow-burn, surreal drama · german entry — gentle in intensity, intimate in scope, measured in temperature, nihilistic in outlook, with a strong directorial signature. Hand-scored on twelve axes of taste — mood, pacing, weirdness, hope, stakes, humour, reality, density, warmth, auteur, intensity, and era — with a derived palette drawn from its dominant cinematography.
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The shape of I Was at Home, But
What watching it is actually like.
“You want elliptical German arthouse on family, grief and quiet existential drift.”
Skip it tonight — Skip if long static takes and open questions will frustrate you.
The reading.
Each axis is hand-scored — not derived from votes or genre averages. The marker shows where this film sits; the gradient fill uses the film's own cinematography palette.
Eight films that read most like this one.
Closeness in the twelve-axis space — how the film actually reads, not “people also liked.”
Discussion
What does your Movie DNA look like?
Rate a few films you've seen. We map your taste across the same twelve axes and find the films you'll actually want to watch tonight.
Calibrate yourself