It never ceases to amaze me how genre cinema can adapt itself to anything. From sociopolitical melodrama to generations divided, whether it be Science Fiction or Horror, there are reasons why so many of us are drawn off the beaten path and into the spooky woods of the cinematic landscape. It dares to challenge us, revealing more about ourselves through allegory than simply telling the audience outright could ever do. We find comfort in “the other,” in monsters that speak of childhood trauma or intergalactic travel that sews the seeds of hope for the future of humanity and the possibilities therein. This is why, for many of us, these are the most important movies out there – because they are so often fearless and a breeding ground for great talent.
One such talent that has been getting a lot of buzz with their short films in recent years is director Izzy Lee. Armed with such accomplished shorts as Meat Friend (2022), Re-Home (2019), and Disco Graveyard (2020), it was only a matter of time before they took a leap into making their first feature film. With House of Ashes (2024), she has done just that.
In a world run by an authoritarian government, where the killing of an unborn child is illegal – even through miscarriage – Mia (Fayna Sanchez) finds herself released, having served her sentence. Tethered to the house by her leg monitor, an overzealous probation officer (Lee Boxleitner), and a boyfriend (Vincent Stalba) that wants to make everything perfect, Mia now faces long days of solitude, mourning both for her baby that never was and the husband who was murdered soon beforehand.
There are moments in House of Ashes of true beauty that show a talent just waiting to shine through.
House of Ashes is a difficult movie to recommend due to its rough-and-ready aesthetic and somewhat stilted performances. Dialogue is clunky and often derivative, and the story is unfocused… and yet…
Despite all its problems (of which there are many), there are moments in House of Ashes of true beauty that show a talent just waiting to shine through. Single shots that allude to something more ethereal or supernatural are captured by a gifted eye for visual splendour, and it’s in these moments that the faults almost become worthwhile. Several times, I found myself engaged by a scene purely on the elegant design of the shot or the in-camera effects pulsing with intrigue and mystery. This is where House of Ashes is at its best – when it isn’t being hindered by the script or the performances.
What it also has in its corner is a story that needs to be told – one of isolation and gaslighting, of not being able to escape your past, and of the intrusion of others who wish to condemn you for it, even though the world in which they live is cruel and unjust. These are the types of stories the world needs right now – not just those of costumed men and women and their repetitious exploits in global heroism. We need stories of people and their struggles, of extreme situations and the ability to overcome them, of prejudice and discrimination. These are the things we can learn from to help shape the world around us into something better.
As previously stated, House of Ashes is a difficult movie to recommend. But with a lot of promise and a bucket full of good faith, this may be the start of a glorious career for its director, Izzy Lee. This is not the film that will set the world alight, but there are signs of exciting times to come.
House of Ashes had its International Premiere at Glasgow Frightfest 2025
Ben’s Archive – House of Ashes
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