Fantasia Film Festival 2025 has me in its grip, and I have watched a handful of movies that I can’t shake off. Burning wasn’t the first film I caught, but it was at the top of my watchlist, and I almost want to forget it. As a quick caveat, Burning is a Kyrgyzstan film, and I rush to watch foreign films. I have a profound interest in the supernatural, as well as diverse cultures, customs, and religions from around the world. In particular, I read there may be curses involved, but they were not the type I anticipated. Also of note, I am sensitive towards content with domestic violence, and I am glad I didn’t skip Burning.
A young couple, Marat and Asel, who are recently grieving the loss of their only child, Amirchik, are struck by tragedy yet again when their home is caught on fire. The townspeople rush to aid in putting out the flames and retire for the day by exchanging their views on the fire at a local grocery shop. Told from three perspectives, it’s clear that no one person knows the whole story, and some neighbors know more than they are letting on.
Guilt
Uncle Jyrgal is the first to share his perspective and is rather dismissive of the others’ eyewitness accounts. Jyrgal is Asel’s uncle, and he firmly believes that Marat’s mother, Farida, is evil. Marat is remembered as a devoted family man, while his wife, Asel, is portrayed as troublesome. Jyrgal describes a grieving family and suggests that the meddling mother-in-law might be involved with the occult. He’s nosy and listens in on his neighbors, going on about what he believes are sinister forces at play.
From Jyrgal’s perspective, we are given glimpses of different moments during Farida’s stay with her son. Asel is grieving but seems fine outwardly and puts up with a lot of hate from her mother-in-law. However, Asel is happy to share news of her pregnancy. Marat shows concern for Asel and her mental health, but leaves her with her cold mother-in-law while he reaches out to a few of his spiritual leaders, who he believes will save Asel. At this point, the most significant takeaway is that Asel appears submissive and fearful of her mother-in-law, while her husband thinks she is possessed by a jinn.
Excuse
A neighbor, Durus, narrates the second story, as his wife was friends with Asel, and he believes he had a critical view. It is clear from the start that Jyrgal was exaggerating, and that Farida is merely a concerned and devout Muslim woman, praying and caring for her daughter-in-law. On second glance, Asel does not appear to be pregnant, and she acts strangely towards her mother-in-law. Asel appears exhausted and mentally unstable. Marat believes that Asel is possessed and insists on finding a Mullah to relieve her of her demonic pain and suffering. He does not show sympathy, firmly stating that Asel should be done grieving for the loss of her son.
In this second telling, Asel is acting frighteningly. She scares her mother-in-law, believing Farida is up to no good, but the mother-in-law is more afraid of Asel. Marat insists that Asel could not be pregnant, as they have not been intimate since Amir’s death. Asel is shown vomiting, and she appears exhausted. Asel is actually quite scary in this act, and Marat is acting suspiciously. In particular, details about the son’s death are revealed, highlighting Marat’s behavior. He was intoxicated on the day of his son’s disappearance and blamed his wife for the loss of his son.
The Reason
Burning hits its stride during the third act. It is now evident that Marat and Asel’s home life is a nightmare. The last perspective is that of Aisalkyn, the wife of the neighbor who just recounted his side of this tragic fire. Throughout the movie, we see her watching Asel, and she looks ashamed. Aisalkyn turns her head away at key moments, and now we realize that most people knew what was going on at home with Marat. Most significantly, Marat physically and verbally abuses his wife. He treats his mother poorly, blames and shames his wife for the loss of his son. Marat is extremely violent.
The people in the village, along with Marat’s mother, are well aware of the abuse. Asel has tried to enlist help to leave, but most agree it’s none of their business. The men may not physically abuse their own spouses, but they are just as shamefully backward and domineering. It is apparent that Asel needed medical intervention, and despite the urgings from the Mullah and Farida, nobody actively helped her. Events build up until a fire consumes the home of Asel and Marat.
Look Away
I recommend Burning, and I am glad I kept my eyes on the screen. Treating domestic violence as a shameful secret and ignoring aid because it’s a “family issue” is wrong, and it’s everywhere. The generational curse is both figurative and physical, as it repeats itself because nobody is addressing it. As a survivor, healing comes with the added guilt, shame, excuses, and so many people looking away. I felt the loneliness, the fear, and the desperation. Each act added a layer of realism, driving home the fact that the abuse was ignored again and again.
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