Loïc Tanson’s The Last Ashes was Luxembourg’s official entry for ‘Best International Picture’ at 2024’s Academy Awards. Whilst it failed to receive a short list nomination, that it was selected to represent the country still instantly speaks to the quality of the film. It also shows that some countries are not afraid of backing their more genre heavy projects for awards consideration.
Set during the 1800s, The Last Ashes begins during the Dutch occupation of Luxembourg. The community lives under the rule of Graff (Jules Werner), a stern man who ensures that everyone follows his word. Those who revolt are viciously punished. After accidentally catching his attention, a young girl, Hélène, is enlisted to be his bride, but before her fate can be sealed, she manages to flee. Years later, Luxembourg is now free, but Hélène’s childhood home is still beholden to Graff. Now older, Hélène (Sophie Mousel) returns under the new identity of Oona to exact a bloody revenge and save those that she loves.
The Last Ashes follows the pattern of a traditional Euro Western. The addition of a female protagonist however, makes the story more powerful. There is something fascinating about the power of female rage and Hélène has bottled up multiple years worth, which she unleashes upon Graff’s men. It is not quite as brutal a revenge as it could be, but the emotion of Hélène’s actions carries the malice through. At two hours, The Last Ashes slowly bides its time in getting to its anticipated climax. The work at building tension is strong, but with little substance to the story outside of Hélène wanting Graff gone, the run time begins to feel its length.
Visually, The Last Ashes is beautiful. In order to separate the different time periods, Tanson opts to tell the first portion in black and white, before gradually switching to colour for the second part of the story. In addition to this, Tanson adds an extra visual flourish with the inclusion of masks. Within Graff’s society, young girls have to keep themselves hidden behind a mask made from the bark of the trees that surrounds them. Seeing small children with their faces obscured is both chilling and sad, and highlights a society in which women are lesser. Hélène does not conform to this notion though, and her vendetta against Graff is as much about freeing the girls from oppression as it is seeking her vengeance.
Given the well constructed technical components, it is easy to see why Luxembourg submitted The Last Ashes for Academy Award consideration. Sadly, when comparing it to those that achieve a short list nomination, it is evident why The Last Ashes did not make the cut. As beautiful and as competently made as it is, the story doesn’t have enough bite to grip onto the viewer. Coupled with a sedentary pace, the connection to the audience is further diminished, resulting in a film that is interesting and enjoyable to watch, but which fails to take hold after viewing.
The Last Ashes
Summary
Although a beautifully constructed Euro Western with a strong female protagonist, The Last Ashes lacks the extra umph it needs to fully connect.
The Last Ashes was reviewed at Pigeon Shrine FrightFest 2024.
