The Things You Kill (2025)

Direction: Alireza Khatami
Country: Turkey

The Things You Kill, the third feature from Iranian-Canadian filmmaker Alireza Khatami (Terrestrial Verses, 2023), is a Lynchian misfire. Semi-autobiographical in nature, the film follows Ali (Ekin Koç), a college English professor grappling with fertility issues, who returns to Turkey after several years in the US. Back home, he is confronted with deeply ingrained patriarchy, ongoing family disputes, government corruption, and a series of invisible wounds rooted in shameful, inherited behavioral patterns. Everything shifts after his mother dies under suspicious circumstances, prompting Ali to hire a new gardener, Reza (Erkan Kolçak Köstendil), an enigmatic wanderer from the North with whom he enters an obscure and unsettling pact.

At first, the film sustains a slow-burning tension, working as a measured psychological character study with a clear sense of purpose. However, the surreal second half—a hall-of-mirrors pact that probes darker impulses, exposing cruelty, vengeance, and simmering resentment—possesses an enigmatic allure, though one that feels more decorative than illuminating. Like a Picasso painting, it invites interpretation without necessarily deepening emotional engagement.

The performances are solid, and Khatami deliberately sidesteps several conventions of the crime thriller. Still, everything feels a bit jarring and soulless throughout. It is a thinly veiled, downbeat tale that, despite its complex narrative construction, still delivers a fairly straightforward message. The austere tone and chilly portrayal of grief and obsession are intellectually intriguing but rarely visceral. Spiraling and twisting without arriving at anything truly revelatory, The Things You Kill won’t make you sweat—its surreal dimension adding too little substance to justify its ambitions.

Terrestrial Verses (2024)

Direction: Ali Asgari, Alireza Khatami
Country: Iran

Terrestrial Verses, a directorial collaboration between the multi-awarded Ali Asgari and Canada-based Iranian-American filmmaker Alireza Khatami, shares several thematic strings with Abbas Kiarostami’s 2002 docufiction Ten. However, while Kiarostami’s work was centered only on women, this project includes men, presenting a series of nine vignettes that expose injustice, absurdities, and intolerable abuse of power. Shot in seven days and produced by the directors at their own expense, the film captures the essence of an oppressive system through the experiences of nine ordinary citizens of Tehran interviewed by authorities.

Among the most compelling stories are a confrontational teenager punished at school for arriving with her motorcyclist boyfriend, a young woman seemingly caught driving without hijab, two shameful job interviews (one laying bare sexism and the other religion-based discrimination), and a desperate filmmaker whose work, based on true events, is censored from start to finish. It’s a fine blend of realism, cynicism, and humor.

Following conceptual simplicity, Terrestrial Verses is minimalist in its visuals but cathartic in its dialogue. This pain-filled satire does so many things, all of them well. Opting for explicit directness, it forces the viewer to look straight into the eyes of victims of a controlling and toxic Iranian society marred by austere religious and political principles that serve only those in power. Films like these are important, denouncing oppression in the hopes of achieving freedom, in a relentlessly clever middle finger to baseless censorship. Although fictionalized, this accessible and defiant film offers enlightening insights into contemporary Iran.