‘The Things You Kill’ Review: A Slow-Burn Turkish Drama That Gets Weirder, and Deadlier, as the Plot Thickens

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Film creator Alireza Khatami is recognized for a set of partially experimental dramas, including 2017’s “Oblivion Verses” and 2023’s “Terrestrial Verses,” co-directed with Ali Asgari. His work frequently experiments with narrative styles, incorporating sudden bursts of surreal visuals or employing an enigmatic perspective to tell the story. The subject matter of his films often leans towards the somber, but the presentation is more whimsical, softening some of the gravity portrayed.

In “The Things You Kill,” I found myself immersed in a story that initially seemed like a heavy, introspective drama about a college professor grappling with life-changing events on two fronts – his personal and professional lives. However, as the narrative unfolded, it took a bizarre turn into a realm of excessive violence, reminding me of films by Buñuel or De Palma. Characters’ identities became interchangeable, bodies started dropping left and right, and the whole situation felt surreal and disjointed. It wasn’t until Khatami attempted to wrap things up with little explanation that I was left scratching my head.

In the narrative of this movie, I find myself immersed in the life of Ali (Ekin Koç), a former U.S. resident turned part-time university translation teacher in Turkey. Married to the slender veterinarian Hazar (Hazar Ergüclü), with whom he’s been yearning to start a family, Ali encounters two significant revelations early on: his sperm count is significantly low, and his aging mother can no longer manage her own care.

In the movie, two intertwining storylines featuring Ali’s potential offspring and complicated past figures, such as a father (Ercan Kesal) who appears to be excessively violent towards his spouse, unexpectedly intersect in extraordinary manners during the film’s turbulent second act. At this juncture, an individual named Reza (Erkan Koçak Köstendil) makes an appearance, showing up at Ali’s remote hillside cabin and proposing to work as a gardener. However, it quickly becomes apparent that Reza does more than just tend to the plants.

In the initial 30 minutes of “The Things You Kill“, there’s a leisurely unfolding of a family story that recalls the style of Nuri Bilge Ceylan, often collaborating with Kesal. However, this slow-paced narrative sometimes struggles to maintain tension and can feel drawn out. The main character, Ali, is so unlikable due to his pompous and grumpy demeanor that his downfall, which involves the possibility of losing his teaching position due to budget cuts, fails to elicit much empathy. Throughout the story, Ali exhibits a consistent air of contempt towards others and seems disgruntled about returning to Turkey after apparently having a more prosperous life in America.

It’s reassuring, in a way, that the professor experiences some trouble towards the end of the story. After his mother unexpectedly passes away and there are suspicions about his father, the plot takes a thrilling turn in “The Things You Kill.” Ali and Reza, whose names combined make up the director’s first name, choose to take charge of the situation, resulting in a violent conclusion that mirrors both James M. Cain’s and the Coen brothers’ works. Although the drama eventually wraps up, it strays so far from its original course by then that it becomes challenging to reel us back in.

In his latest work, Khatami once again challenges traditional norms, a trait that deserves praise. Initially, The Things You Kill seems destined for a serene, intimate drama, but Khatami masterfully flips this expectation when the murder plot unfolds. He also demonstrates a skillful understanding of composition, positioning characters within frames created by windows or doorways to emphasize the film-within-a-film elements of the storyline. This leaves us questioning: Are we observing real events, or perhaps a movie that’s playing in Ali’s mind?

Although the movie offers an interesting perspective on dismantling its plot, it fails to evoke much emotion, appearing somewhat dull overall. Khatami certainly delivers a powerful message, particularly about the oppressive impact of the patriarchal system on both personal and professional lives. However, despite Ali’s harrowing journey through bizarre and distressing events, the film leaves viewers feeling detached, as it seems to lack the emotional resonance needed to fully engage its audience.

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2025-01-25 11:54