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Good story, Not enough for a whole film

brilliant actors, brilliant editing

An old-fashioned movie made with new-fashioned finesse.

Watching it is like watching the spectacle of a class clown at their best: you laugh at their jokes, instigate their defiance, and "ooooh" when they get in trouble.

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

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.

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.

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.