Kandisha

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.

Been looking for a way to watch this film for many years, and now that I finally did... meh.

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!

Haunted by the loss of her child, Nyla Jayde (Amira Casar), a brilliant criminal defence lawyer, takes on a case involving a 14th century Moroccan legend, a vengeful spirit named Kandisha. Jerome Cohen Olivar's chilling, gripping horror takes a stellar cast - David Carradine as the mysterious character of 'The American', alongside Hiam Abbass - and weaves the ancient legend into a gripping contemporary courtroom drama. Jayde has to convince not only the jury, but her colleagues and her husband Mehdi that it was Kandisha, rather than the wronged woman Mona Bendrissi, brilliantly played by Abbass, who decapitated Bendrissi's husband. She is assisted by 'the Cabalist' - giving Olivar the opportunity to shoot atmospheric scenes in the souk and an ancient castle, among other stunning locations. This stylish, brooding supernatural thriller will have you on the edge of your seat.

Well, well. What do we have here? It is not like anything you've seen before. It is foreign territory yet there is something deliciously familiar with this movie. Being a film buff, I would imagine one could easily qualify it as a sixth sense meets the orphanage, but that wouldn't be fair to the director, as I firmly believe that it aims for much more than that. There are such powerful performances in this film (David Carradine's role as the American is one of his best) that the movie manages to slowly tightens its grip around your throat until you feel totally out of breath. Usually, supernatural thrillers are just what they are, thrillers. I don't think this one qualifies as such. It is more of a drama with supernatural overtones. It digs deeper than a conventional thrill flick and even though some jump scares are a bit predictable, the movie as a whole remains powerful. The score is remarkable and the cinematography reminded me of a Rembrandt painting. This is the first film I see by a Moroccan filmmaker and predictably, not my last.