Plot and Mythic Roots
‘Trees Are Watching’ opens with a voice‑over that explains an obscure Kurdish legend: a community cursed to become trees after death, only to awaken as pieces of furniture in a second existence. The narrative follows a young woman who discovers that the trees around her village are not silent witnesses but sentient beings remembering their human pasts.
Kurdish Legend of Trees and Furniture
The legend has been documented in several ethnographic studies, including work published by the University of Tehran that describes how trees are viewed as living archives of ancestral memory. The film attempts to translate that concept into a modern horror framework, positioning the trees as both protectors and predators.
Direction and Production
Iranian‑Kurdish filmmaker Bahman Ghobadi directs the project, bringing his experience with socially charged drama to a genre that is rarely explored in his filmography. Ghobadi’s reputation for blending realism with poetic imagery is evident in the opening forest sequences, which feel both grounded and otherworldly.
Bahman Ghobadi’s Vision
Ghobadi has spoken in interviews about his desire to showcase Kurdish folklore on a global stage. He uses long takes to let the forest breathe, and the camera often lingers on the bark as if it were a character in its own right.
Martin Scorsese’s Involvement
The film carries the banner of a production company overseen by legendary director Martin Scorsese. While Scorsese does not appear on‑screen, his name appears in the opening credits as an executive producer, indicating a level of endorsement that raises expectations for the project.
Performance Highlights
Eva Green assumes the role of the protagonist, a researcher named Leila who returns to her ancestral village to investigate the phenomenon. Green’s performance is marked by a calm intensity; she conveys curiosity and dread without relying on melodrama.
Eva Green’s Turn
Green’s background in period pieces and psychological thrillers serves her well here. She delivers lines with a measured cadence, allowing the surrounding sound design to amplify the tension. However, the script often asks her to react to vague AI‑generated visions, limiting the emotional depth she can achieve.
Child Actors and Ensemble
The supporting cast includes several child actors whose natural performances provide moments of genuine wonder. Their interactions with the sentient trees feel sincere, and they anchor the film’s more fantastical elements in human emotion.
Visuals, Effects, and AI Elements
The film leans heavily on AI‑generated imagery to depict the trees’ internal memories. While the concept is innovative, the execution feels uneven. Some sequences appear hyper‑realistic, while others look like low‑resolution composites, creating a visual inconsistency that distracts from the story.
- Strength: Lush forest cinematography captured by veteran DP.
- Weakness: Inconsistent AI effects that break immersion.
- Strength: Practical set pieces that blend real wood with digital overlays.
- Weakness: Overreliance on exposition to explain the AI visions.
Critical Reception and Box Office
Early reviews from major publications have been mixed. The New York Times praised the film’s ambition but noted that the narrative “gets lost in its own mythology.” Variety highlighted Green’s performance while criticizing the uneven visual effects. Box office numbers show a modest opening in limited markets, with stronger performance in regions that have a cultural connection to the Kurdish legend.
Final Assessment
‘Trees Are Watching’ is a film that reaches for mythic grandeur but is hampered by a script that leans too heavily on AI‑driven spectacle. Eva Green provides a solid anchor, and Bahman Ghobadi’s direction offers moments of visual poetry. Yet the film’s self‑serious tone and uneven effects prevent it from fully resonating with audiences seeking either pure horror or a thoughtful cultural exploration.
For viewers interested in folklore, the film offers a glimpse into a lesser‑known legend, though it may feel like a missed opportunity for deeper storytelling.
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