Kandisha

Rarely does a film offer more that what truly defines it. Kandisha, in a way, does just that. The plot in itself is not what makes the film so unique, rather, it is the combination of drama, mystery and horror, that give the movie its edge. It is clear that Cohen Olivar draws his inspiration from Korean and Spanish cinema but he does in a way that's so different and new that it leaves you guessing. The guy toys with you. There is no doubt about it. He manages to takes so many exogenous elements, many styles and, let's stay it, so many cultures, and blends them almost seamlessly into one gripping, hour and 35 minutes of what I would like to call New Moroccan Cinema. I do believe something has been Invented here. Again , not in terms of plot, characterization, or even style, but simply in terms of "feel. " what you need to look for here is emotion. raw emotion. The kind of emotion you used to have as a child when mom yelled at you after you had spilled milk on the a couch, then felt guilty and hugged you right after. This is what you will feel lie after you've seen this movie. You'' feel yelled at, you'll fell hugged, and ultimately, you may even feel like you don't quite get it. But you'll be okay with that... Because it It's part of the ride. And as a character in the movie puts it as he points at the door of a psychiatrist institution. "This is the line between sanity rand reason. it is only an 5 centimeters thick" I've seen the movie and I walked across that line. I'm not sure I have returned just yet...

Unless I'm mistaken, which actually happens quite often I must admit, this is one of the only Moroccan horror movies ever made; and that little trivia fact alone should be more than enough reason for genre fans to check it out! Considering the practically non-existent horror reputation of Morocco, it's fairly normal writer/director Jerome Cohen Olivar opted for a spooky story based on a local folklore legend. I use the word "normal" because each and every country on this planet probably has a handful of urban legends and folklore fables and they form the ideal and most easily accessible source for horror movies. The title refers to the name of an avenging angel/ghostly spirit wreaking havoc upon abusive men. Kandisha lived in the 14th century and was married to a wealthy but unfaithful prince. He abused her and locked her away in a cellar, but Kandisha got her vengeance. Over and over again, in fact, because it is said that Kandisha is the guardian angel of all mistreated Moroccan women. The rational but nevertheless sensible female attorney Nyla Jayde – who still struggles with the loss of her child – is asked to defend in court a woman who claims her husband was decapitated by the furious spirit of Kandisha. Nyla is very skeptical at first, but gradually turns into a firm believer of the legend as she digs deeper into the history of the legend. "Kandisha" is an extremely slow-paced but atmospheric and unsettling film. It's also too easy to just label this as horror, as "Kandisha" is far more ambitious than that. It's primarily a moving drama, a compelling courtroom thriller AND a truly poignant observation of the position of women in nowadays societies. The director easily could have turned this into a much more violent and exploitative shocker, especially since the titular ghost likes to chop heads off, but thankfully the film continuously remains subtle and tasteful drama. This is a vastly impressive film with captivating characters, a fascinatingly developing plot and a highly original twist-ending. The acting performance of Amira Casar as Nyla is breathtaking and I really wonder how David Carradine ended up on the set of this film, even though it's only for a brief cameo. Definitely recommended!

I was with a friend from new Orleans when I watched the movie and when we got in the car, she sat down, paused for a long moment, then started crying. I turned to her and asked her what was wrong. She said it was the film . We looked at each for a while then tears jumped into my eyes as well and we both started crying. To this day, I find no other way to describe this movie... When Helen and I think about it today, we laugh and move on with our lives... Because after all, it's only a movie.. Or at least we make it seem like it, because once you've seen this film, you won't forget it. You may not like it but you won't forget. You won't forget the cabalist whose mysticism is so empowering that it leaves you breathless. You won't forger that little girl, Mika, and her lullaby in Moroccan dialect (I presume) that gave me goose bumps. you won't forget the American played by David Carradine in his surrealistic cell as eh describes Kandisha. You won't forget the rose petal as it lands on a portrait at then end and we realize.... Oops. I almost spoiled it. I got carried away and you know what, that's what the movies does. It carries you. It carries you places. carried in your own heart. It does hurt to discover those paces... But I think it's worth the trip. I enjoyed the movie. So did my friend. But I don't think I want to see it again. Not because it's not good enough. But simply because you' just don't fall in love twice with the same person.

Unless I'm mistaken, which actually happens quite often I must admit, this is one of the only Moroccan horror movies ever made; and that little trivia fact alone should be more than enough reason for genre fans to check it out! Considering the practically non-existent horror reputation of Morocco, it's fairly normal writer/director Jerome Cohen Olivar opted for a spooky story based on a local folklore legend. I use the word "normal" because each and every country on this planet probably has a handful of urban legends and folklore fables and they form the ideal and most easily accessible source for horror movies. The title refers to the name of an avenging angel/ghostly spirit wreaking havoc upon abusive men. Kandisha lived in the 14th century and was married to a wealthy but unfaithful prince. He abused her and locked her away in a cellar, but Kandisha got her vengeance. Over and over again, in fact, because it is said that Kandisha is the guardian angel of all mistreated Moroccan women. The rational but nevertheless sensible female attorney Nyla Jayde - who still struggles with the loss of her child - is asked to defend in court a woman who claims her husband was decapitated by the furious spirit of Kandisha. Nyla is very skeptical at first, but gradually turns into a firm believer of the legend as she digs deeper into the history of the legend. "Kandisha" is an extremely slow-paced but atmospheric and unsettling film. It's also too easy to just label this as horror, as "Kandisha" is far more ambitious than that. It's primarily a moving drama, a compelling courtroom thriller AND a truly poignant observation of the position of women in nowadays societies. The director easily could have turned this into a much more violent and exploitative shocker, especially since the titular ghost likes to chop heads off, but thankfully the film continuously remains subtle and tasteful drama. This is a vastly impressive film with captivating characters, a fascinatingly developing plot and a highly original twist-ending. The acting performance of Amira Casar as Nyla is breathtaking and I really wonder how David Carradine ended up on the set of this film, even though it's only for a brief cameo. Definitely recommended!

I've seen the film at the palm spring international film fest. first off, this is not a horror film. is this good or bad? i guess it depends which way you look at it. there is very little Graphic horror in the movie and this is not the reason i enjoyed the film anyway. what the film has going for itself is a kind of subdued emotional pinch that sips into you like morphine (or any of its medical derivatives). here, it is clear that the influences of Guillermo del Toro played a role in designing this unusual journey through fantasy. the film is low budget but looks expensive. A friend of mine who has been to Morocco has actually met one of the crew members of "Kandisha" and from what he recalls from his conversation is that , it seemed that the director knew what he was doing. and it shows. Every shot in this film is thought of carefully. every piece of dialog has one purpose only and it is to help the characters and the plot evolve. Kandisha is an example in academic film-making. Basic grammar brought to a level of sophistication that ultimately becomes so simple that it feels like 1+1=2. I have read in a review that the director's first feature "cool crime" was largely influenced by the work of David lynch. now I understand better why Kandisha works so well on an emotional standpoint. It is because everything about this gem of a movie has unconscious influences from masters. Again is that good or bad? The answer is simple. If you want to become someone to be reckoned with in Hollywood, you better have your sh.. (sorry) together. This guy, J. Cohen Oliver has it together, and I will bet you my last lunch at Wendy's that his next movie will be aimed at a much bigger audience... In the meantime, congratulations for coming out of the woods in such a simple, magical way...

Dee Rasmussen