Derya (Selma Ergeç) works in a bank's call centers to support her elderly mother.

One day her life is suddenly turned upside down as she begins to hear a strange voice whispering to her.

[3] Emine Yıldırım, writing for Today's Zaman, states, Surely the film does not present anything new to the genre, but it at least does not smell like a rotten Hollywood rip-off thanks to its spatter of local motifs and cultural references without the usual misogyny of female torture.

The strong and weak points of “Ses” seem to stem from the same place -- its high regard for illustrating an intelligent and psychological thriller of depth where the expected scares serve the purpose of the main human story of dysfunctional and traumatized families -- yet the scenes which specifically highlight the drama and not the suspense tend to perform weakly as the emotional dynamic between the characters could have been more engaging, the reviewer adds, before going on to state, For the most part, the film’s real theme (which cannot be revealed at this point for spoilers) is so familiar to Turkish culture that it achieves in portraying a remarkable zeitgeist that no other films of related genres have been able to present.

The reviewer concludes, All things considered, Ünal brings a well-crafted tale of agony (the kind of agony that’s worth pondering) with the help of astounding cinematography from Türksoy Gölebeyi, tight editing from Çiçek Kahraman and Natalin Solakoğlu, mesmerizingly painful art direction from Elif Taşçıoğlu and not to mention the powerful sound design (which holds the motif skeleton of the film) by Burak Topalakçı and Sascha Walker.