Baskin is a Turkish horror film about a group of hard-edged police officers who find themselves up the fecal creek with out a paddle as they investigate a house full of primitive cultists. But before they get there, we have to watch them have conversations and have misadventures for an hour and some change. It’s up to the viewer as to if this is worth the pay off.
Filmed in a surreal color palate, like Suspiria, Baskin kept me watching (even as I asked myself if anything was going to happen). As we spend the film getting to know the officers, watching their rather brutal demises increases the impact, and in this Baskin is successful. The story line up until that point is a series of juxtaposed starts and stops of snippets of the characters lives. There isn’t a real cohesion to these scenes, and felt more like what a book would do with a narrative. And in the literary medium, it would work a lot better. I get what the surreal tone that Baskin was going for, but it didn’t entirely work for me.
With that said, first time director Can Evernol did a fantastic job with the lighting and cinematography and I give him props for what he aimed to achieve. The finale of Baskin contains some of the more gruesome scenes of horror I’ve seen in a long time and he has big Turkish testicles to film some of this stuff. While his debut didn’t entirely work for me, I can’t deny Evernol has a tremendous amount of talent. With a better scripts, he will make some amazing films. I hope his next film builds on the promise of excellence he has in Baskin. This is currently streaming on Netflix and is worth a watch.