The Things You Kill

The effectiveness of the narration is likely to differ significantly based on individual preferences and expectations.

Although the film ambitiously engages with some critical themes such as generational guilt, parental trauma, and toxic patriarchy; along with their lasting repercussions, but much of this is shrouded in ambiguity and sad to announcer this approach has unfortunately hindered the emotional elements from fully developing, it rather suggests a sense of restraint.

As a result, the audience, in my opinion, will often find themselves as passive observers, attuned to the unfolding series of events on screen but unable to genuinely connect or empathise with the storyline or its characters' individual journeys and realisations.

Not to mention, the noticeable decline in pace and rhythm during the latter part of the second act, extending to the conclusion, further diminishes the film's intended impact and rhythm.

In the West, films like this get showered with awards thanks to an endless, almost compulsive fascination with Orientalism. In such an insincere atmosphere, it becomes hard for viewers to tell which films genuinely deserve recognition.

I decided to stop caring about award ceremonies back in my teenage years. But Sundance has always held a different place in my heart.

Western audiences and critics watching Eastern cinema through subtitles can't really see the films from our perspective. Understandably, they miss the flaws.

The biggest issue with this film was the dialogue. It sounded like it was written in English and then run through Google Translate into Turkish.

The Polish cinematographer, perhaps influenced by the Iranian director, tried too hard to mimic Iranian cinema with every frame. It showed, and not always in a good way.

When an Iranian and a Polish filmmaker try to make a Turkish-language film in Turkey with Turkish actors, it inevitably leads to some serious mismatches. And yes, it shows.

Though I recently had lovely conversations with Ekin Koç, Erkan Kolçak Köstendil, Hazar Ergüçlü, and Ercan Kesal, and I really like all of them, credit where credit is due. Köstendil and Koç are the ones who carry the film on their shoulders.

After one of his concerts, I told Ekin, "You got two big reactions back-to-back from two indie films. What's next?" He smiled and said, "Bring on the next one. This is the fun part."

Koç is deeply in love with the craft. He doesn't care if he makes money off the projects he believes in. In fact, he even spends out of pocket. A remarkable actor and an incredibly talented musician. And once again, he gives everything he's got here.

The film swings between being a festival piece and a mainstream production. But despite a few hiccups, it manages to communicate a powerful idea to the audience.

Still, if I were on the Sundance jury, this wouldn't be my pick.

Alireza Khatami said the film was inspired by David Lynch. I won't comment on that. Because honestly, I'm not sure I can say anything about it without being mean.

Or something along those lines right? No pun intended - watching this once does not seem enough to get all the stuff this has in it. Some more obvious than others - some first seen in a mirror - and yet even though this is an obvious hint, we won't get it immediately.

Then there is confusion about who is who at one point. But you will get your head around it. I may be a bit biased because I totally get the family situation - I am not saying no one else will. But it is quite unique - the family dynamic and how it works in the south of Europe (let's include Turkey, since they do have some land here too). It is kind of alike in many regions and countries.

But this is just the stepping stone - this goes beyond that ... this is about a man who struggles with his past as much as he is with his future ... can we empathize with him? Our main character? I'd say yes, even if sometimes he seems to (re)act in a weird and not conclusive way. There will be explanations of sorts later on ... stick with it - this is as psychological as it gets ... not as extreme in vivid depictions of violence ... more a head thing - can you see it? Also one of the best endings ever - it'll come knocking.

My overall take away from the film, without diminishing Khatami's personal creative choices, is that The Things You Kill is an unintentional homage to David Lynch; the timing is incredible.

Khatami's film is about a married Turkish university professor named Ali and his family, all of whom experience a family event that sets Ali on a path of what he believes to be justified revenge. After a mid-point plot pivot, the genre redirects from revenge drama to thriller, where every emotion and immorality of the human heart and soul is tested.

The substance emanates from a relationship that Ali develops with a wandering stranger named Reza, who he engages to labor in his garden. Reza, without much resistance, agrees to embark on Ali's plan for revenge. The ensuing plunge into depravity is initially filmed in obfuscating darkness, which dials up the Lynchian tenor of the film.

The shooting choices made by Khatami and his DP Bartosz Swiniarski are key to giving the screenplay the depth of a novel with credible characters, as in the frequent slow "pushing in moments" with characters perfectly framed by a door, a window, or an arch, until the mis-en-scene frames are no longer necessary. Swiniarski uses lenses that go in and out of focus, the latter suggesting a dream state - a recurring leitmotif.

There will be much discussion about how this film explores identity and sense of self, and there are abundant moments of soul searching and probing - especially consider that the main character is named Ali and the gardener cohort is named Reza - and amalgamation of the director's name.

As a Lynch cinema fan, this movie is simply brilliant. It is a slow burning suspense and psychological thriller that could bend your mind and make you want to rewatch the film since there are many metaphoric scenes or frames.

One can debate about Jung or Freudian aspect of dream interpretations of the story but if you just let it go and put yourself in Protagonist's shoes, you will definetly get lost and enjoy this cinematic experience.

Actings are okey. Directing is consistent. Framework is great but subtexts of the story are the real hero in this film. Stay away if you don't like slow burning psycological thriller genre and come and watch if you like independent cinema at its best.