‘Trees Are Watching’ Review: Eva Green Struggles in AI-Infused Horror Misfire

A Mythological Muddle

Bahman Ghobadi, a filmmaker long celebrated for his poignant explorations of Kurdish culture and human resilience, has ventured into the realm of speculative horror with his latest feature, Trees Are Watching. Backed by executive producer Martin Scorsese, the film promised a haunting synthesis of ancient folklore and cutting-edge visual technology. However, early screenings suggest that the project is a self-serious misfire that struggles to find its footing between the ethereal beauty of its source material and the cold, jarring reality of its AI-generated aesthetics.

The premise, rooted in a Kurdish legend where spirits are reborn as trees before eventually being repurposed as furniture, is undeniably provocative. It offers a rich, metaphorical framework for exploring grief, environmental decay, and the commodification of the natural world. Yet, the execution often feels like a series of disjointed vignettes rather than a cohesive narrative journey.

Eva Green’s Heroic Effort

At the center of this storm is Eva Green, an actress known for her ability to ground even the most outlandish genre films in genuine emotional stakes. In Trees Are Watching, Green delivers a performance that arguably surpasses the material she is given. She portrays a protagonist grappling with the unnatural transformation of her environment, navigating a world where the flora seems to possess a predatory intelligence.

Green manages to find pockets of vulnerability amidst a script that often relies on paper-thin psychological concepts. Her ability to hold the screen during extended sequences of technological artifice keeps the audience engaged, even when the plot begins to fray at the edges. She is supported by a cast of talented child actors, whose presence provides a much-needed sense of innocence that contrasts sharply with the film’s increasingly nightmarish tone.

The AI Conundrum

Perhaps the most controversial aspect of the production is its heavy reliance on AI-generated imagery. In an era where the film industry is deeply divided over the ethics and aesthetic validity of machine-generated visuals, Ghobadi’s decision to lean into this technology for the film's horror sequences feels like a deliberate, if risky, stylistic choice.

While some shots capture a surreal, dreamlike quality that traditional CGI might struggle to replicate, the inconsistency is palpable. The 'horrors' onscreen—often manifestations of trees warped by digital algorithms—frequently lack the tactile, visceral weight required to truly terrify a modern audience. The result is an uncanny valley effect that distracts from the emotional core of the story rather than enhancing it.

Scorsese’s Stamp and the Future of Genre

Martin Scorsese’s involvement as an executive producer has drawn significant attention to the project. Known for his advocacy for film preservation and traditional cinematic craft, his support of a film so deeply embedded in experimental AI tech serves as a point of curiosity for critics and fans alike.

Is Trees Are Watching a visionary glimpse into the future of genre filmmaking, or is it a cautionary tale about the limits of technology in storytelling? The answer likely lies somewhere in the middle. The film attempts to push the boundaries of how we visualize folklore, but it ultimately forgets that the most effective horror stems from human connection rather than digital spectacle.

Final Verdict

For fans of Eva Green, the film offers a masterclass in commitment, but for those seeking a tight, narrative-driven horror experience, Trees Are Watching may leave them feeling as wooden as its titular subjects. It is a bold experiment that highlights the growing pains of a medium caught between the legacy of traditional auteurism and the rapid, often unpolished, integration of AI tools. Whether this film will be remembered as a misunderstood classic or an interesting footnote in the history of AI-infused cinema remains to be seen.