Izzy Lee is a writer and director who has been solidly working on short films for the last decade. Now, after having created a wide range of interesting shorts, Lee finally ventures into the world of feature films with her debut, House of Ashes.
Whilst the title might conjure up the idea of a sweeping Gothic horror, House of Ashes is instead a very modern and prevalent story. Starring Fayna Sanchez, House of Ashes is a rousing rage-filled horror that exposes not only toxic masculinity, but also the toxic society within which many women have found themselves living. Mia (Fayna Sanchez) is the first American woman to be convicted of the ‘murder’ of her unborn child due to her tragic miscarriage. The rules of her sentence are that she must be confined to house arrest. Mia is joined in her solitude by Marc (Vincent Stalba), but as she tries to adjust to her new normal, ghosts from the past – both literal and otherwise – start to take control.
Throughout House of Ashes there is a veil of guilt and grief, and when mixed with paranoia and gaslighting, there is something horribly unsettling about the atmosphere found within. This oppression is accentuated further by the choice of setting. Although set within a house, this structure is unlike the typical four-walled dwelling. Little natural light is present in the residence, which heightens both the visible and tangible darkness secreted inside Lee’s debut. The location really does make House of Ashes; it perfectly communicates Mia’s unspoken feelings. The use of cloudy blue hues reinforce Mia’s isolation as she is now adrift from the world, not simply because of her house arrest, but also her infamy as a ‘baby killer’.
The most terrifying aspect of House of Ashes is that certain elements seem scarily close to coming to pass in reality. One only has to take a casual glance into recent American culture and politics to understand how easily someone could come to be accused of the same ‘crimes’ as poor Mia. Examine the lack of autonomy that those with uteruses have over their own bodies in America right now, and underneath the genre trappings, House of Ashes offers a scathing commentary on the country’s current political climate, and is a battle cry for change. As such, House of Ashes manages to do what all great horror films do – juggle moments of dread and tension alongside important analysis of life. If just one person’s viewpoint is shifted by watching this film, Lee’s hard work will be worth it.
Lee’s message never overshadows the more traditional horror content however, and instead compliments it perfectly. The dread and tension that permeate the house make a fertile ground for scares, and there are plenty of them to be found. The fusion of psychological and supernatural horror keeps the audience on edge, and the single location setting makes for a delightfully uncomfortable chamber piece.
Eerily relevant, House of Ashes is a powerful and confronting film whose real-life mirroring forms the basis of its most traumatising elements. It may have taken Izzy Lee far too long to be granted a chance to move into feature length cinema, but one can only hope that this is the start of a long career. Strong voices in search of change are vital in filmmaking and Lee’s voice is one whose words should be heeded.
House of Ashes
Summary
An oppressive setting mirrors the real world oppression felt by women, whilst not holding back on moments of pure horror in Izzy Lee’s powerfully important feature debut.
House of Ashes was reviewed at Pigeon Shrine FrightFest Glasgow 2025.
