Erwin Tyder I saw this film at oxford film fest and was stunned. This flick is up to par with the best Asian horror pix. muted colors and low key characters used in a very effective way. The plot is not the best part about the film but it works. I found the courtrooms scenes daring and brilliantly shot. A lot of the movie reminded me of "The Others" by Alejandro Amenabar. The slow burn is efficient and the waiting game really keeps you on edge. I am impatient to see this director's next project. There were rumors at oxford fest about Cohen Oliver tackling on Hollywood. If this happens, I just hope he doesn't not lose his Spanish-Asian touch. That's what sold me.

Coventry 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!

kellerpaul2 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.

carsoncinema 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...