REVIEW: ‘Ashes’ Is Unbearably Bad

Directed by Erdem Tepegöz and written by Erdi Isik, Ashes  (Kül) (2024)is a Turkish-language Netflix Original romance. Gökçe (Funda Eryigit) finds an unfinished manuscript for a scintillating story called “Ashes” of romantic impropriety and a mysterious man who changes the lives of the women who entangle themselves with him. Unsatisfied in her marriage and looking for an excuse to spice up her life, Gökçe follows the book to a shop where she meets the carpenter Metin Ali (Alperen Duymaz). Manifesting the rest of the book’s torrid affair starts fun but quickly turns dark.

Nobody can blame Gökçe for being miserable with a husband who only thinks about himself day and night. He’s a demanding businessman and a selfish lover. Their kid is a total pain, too. But frankly, Gökçe doesn’t seem all that great either. She’s not especially nice and rather demanding of Ali in a way not too dissimilar to how her husband treats her. Even if you can’t blame her for wanting to cheat on her husband, it’s quite difficult to watch.

The movie tries to juxtapose the stern, steel world of Gökçe’s lavish marriage in the modern city and the ethereal world of Ali’s stoney old city. But the romanticization of Ali’s neighborhood is way too on the nose. The score and soundtrack become irritating almost immediately. It’s always trying too hard to be menacing or swooning. Every time something is supposed to feel a little magical, a “mystical tingling” plays. Ashes fly around everywhere to represent the moments Gökçe manifests from “Ashes.” However, in many scenes, they look so artificial they become distracting.

In the first big romantic scene, the dialogue is so bad, especially from Gökçe, that it’s a wonder Ali sticks around. It’s fair enough to assume that this is the first time in Gökçe’s life that she’s feeling windswept. Acting a little silly is totally reasonable. But the number of times she leans back with her arms in the air is overkill. Combined with the weird way she talks about her book without actually talking about it, as if she’s already been to all these places Ali is showing her, just feels rude rather than romantic. It’s not charming at all when she starts talking about fate, especially to his cold and completely unromantic face. All he does is glour.

Not an ounce of romantic energy exists between these two characters. Their entire affair is built on Gökçe’s unconscious desire to have one. She falls for Ali simply because his name is close enough to what happens in “Ashes.” He doesn’t woo her. He doesn’t say anything funny. Ali simply exists. He doesn’t even fully match the description. While this is the point textually and it makes total sense for Gökçe’s character, it doesn’t mean that it’s remotely enjoyable to watch.

Especially when it comes to the movie’s intimacy. While I suppose kudos to Ashes (2024) for actually having any when so many romances, especially on Netflix, are dreadfully sterile recently, perhaps this movie would have been better off if it were more like other movies in this regard. Every single intimate scene is uncomfortable for one reason or another, but the big one is so bad I could barely watch it. It was unbearable, from the noises, to the look on their faces, to the way they behave, to the impetus for the moment in the first place,

The costuming is poor too. Gökçe’s dresses feel out of place and her husband’s hair is styled poorly in several scenes. Their house is also terribly sanitary and unlived in. Ali’s workshop is bathed in light though, which is a nice change from the usual too-dark-to-see scenes of modern movies. But Gökçe’s whole world is bright in its modernity. The comparison makes Ali’s world cramped and unpleasant more often than it feels nostalgic or romantic.

It’s going for something particular, of course. Ashes (2024) tries portraying its main character as living out a fantasy. And it reads that way to a degree. But it also comes across as full-grown adults acting like children. It’s completely unappealing to watch, even if their situation is equally empathetic. Maybe if Gökçe and Ali were younger, acting like petulant children wouldn’t be so aggravating. It’s not like Gökçe’s kid is in the movie for any substantial reason besides to make Gökçe getting divorced less of an option.

But wait! Ashes (2024) isn’t just a bad romance and a bad drama. It’s also a bad thriller. Because suddenly, with 30 minutes to go, the movie reveals a whole new dramatic plot that throws Gökçe’s interminable husband in front of the camera for more scenes than he needs to be in to try and solve a brand new mystery before it’s too late. If you noticed the oversaturated musical cues the whole movie long, you won’t be completely shocked when the movie introduces a thriller element. But you won’t be glad for the change of pace either. One cool scene using reflections in dark mirrors and an impressive underwater shot don’t make up for a bizarre change from light and awkward romance to a stupid thriller.

Ashes (2024) is really bad. Terrible dialogue and equally dismal acting make what works on paper absolutely unbearable on screen.

Ashes (2024) is streaming now on Netflix.