[SXSW 2025] Ash -- A Violent, Loud, and Obnoxious Space Odyssey

​Review by Borja Izuzquiz

​Flying Lotus has more than earned the title of visionary. Having Coltrane blood undeniably helps, yet Lotus has carved his own path from musician to filmmaker, offering his own brand of creations along the way. Sometimes, however, being a visionary is a two-edged sword. In the case of his latest directorial feature Ash, some of the worst tendencies of his creative genius shine through.

Ash is filled with moments that want to defy convention. Every moment looks to warrant a reaction, whether it be repulsion, scares, or aural and visual confusion. Up for debate though is how much context it all adds. With most of the opening sequences building up to jump scares, the effect becomes old quick. The blistering sound design keeps most dialogue muted, while the visual palette sways between too few creative ideas and uninspired imagery.

To say it is a disappointment is a massive understatement. From what has come to be expected from Flying Lotus, Ash curiously feels like a film that was reeled in from its bolder creative ideas. Its main character Rya (Eiza González) is the lone survivor of a space mission to planet Ash. After an introduction filled with gory clips, the film cuts to Rya lying on the floor, covered in bruises and blood. Something terrible has happened, yet Rya has a tough time remembering what has happened. Clues are afforded by bloody bodies and flashbacks Rya experiences as she investigates her surroundings.

The film’s plot revolves around Rya piecing together what happened. Given that the results are already known via the gory remnants, Ash struggles to make any of it compelling. The action has already happened, making it a challenge to patiently wait for a not so surprising reveal while an obnoxiously loud soundtrack threatens to rupture eardrums. It isn’t until a mysterious visitor named Brion (Aaron Paul) arrives that something interesting looks like it may be stirring the pot.  Even then, the results are lackluster.

As the film progresses, character choices become more confounding. Rya has little motivation for wanting to stay behind, even when Brion is the only way for her to leave the spaceship and survive. Yes, Ash does take time to establish the camaraderie between her and her fallen team, but when the outcome for wanting to find out what happened is death, the purveying feeling is that the film is making excuses to extend runtime and artificially create drama.

Despite this, positives can be found in some visual and storytelling choices, even if these are scarce. When practical effects are used, these prove to be effectively repulsive. Scenes involving planetary occurrences and creepy monsters exude a unique flair. The bulk of the film, however, occurs in dark confined spaces that don’t share the same artistic quality. Given that the film has already demonstrated an ability to unleash creatively, the reluctance to push the limits homogenously proves to be frustrating.

As for the plot, the reverse murder mystery lacks the substance to merit interest. However, despite the story’s weak foundation, screenwriter Jonni Remmler does respect the characters enough to provide some context that moves the plot forward amid its repetitive nature, even though not enough time is spent with them.

Ash implores viewers to experience it rather than watch it. But when much of the plot is revealed through exposition, and the psychedelic qualities it revels in fail to permeate throughout, the desired reactions are not earned. Instead, Ash becomes an uncomfortable and obnoxious watch without any true purpose. The long lineage of classic space horror gets momentarily interrupted here, as Lotus provides little reason to care about any of it.
 
Ash is screening at SXSW 2025 in Austin, TX. 

Rating: 2/5