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On ‘Dachra’, a text at the beginning of the movie claims that the story is based on true events, adding that “in North Africa hundreds of children are victims of acts of witchcraft.” One could, however, argue that this movie, which claims to be the first horror movie out of Tunisia, is inspired more by the likes of The Blair Witch Project and The Texas Chainsaw Massacre rather than local crimes and superstitions.
While the creativeness of writer-director Abdelhamid Bouchnak’s debut narrative may be unoriginal, it is certainly infused with unrestrained horror. Thanks to the insightful and rich editorial direction of this film, the horrible haberdashery of city slickers, creepy country folk, and cannibalism rises above its derivative elements. Today marks July 9, the day that Dekanalog is releasing the film into US theaters nearly three years after its premiere, during which time “Dachra” emerged as the biggest box office success in the quarter century. Although this may not have as big of an impact in America, horror fans should take notice of “Dachra” for the creative way it adapts well-known scares into new cultural settings.
Yassmine (Yassmine Dimassi), Walid (Aziz Jbali), and Belil (Belil Slatnia) are university journalism students tasked to complete an investigative report in the form of a film. It needs to feature a subject that is “exclusive,” Whatever that means. (Guess their prof can’t stand another project about the revolution that changed their country into a democracy around 10 years ago) It was decided by the cameraman Bilel that they are going to use one of his contacts an insane woman locked up in an asylum for the past 20 years. The woman was discovered in a remote rural area, naked and mutilated.
Mongia (Hela Ayed), is rumored to posses witch-like powers and is said to be a threat to the staff off the institution. At least the last rumour is one of the most fulfilled ones. This becomes clear when the three are smuggled late at night into merchant’s dungeon like quarters. Even though their little escapade did not gain them a lot of useful information, they decided to go after the case with more tenacity. After all, they don’t want to fail the course and do not claim themselves to be slackers.
So, at the 45-minute mark, they come across a dacha, which translates to a secluded village and seems to be the place where Mongia’s original henpecking most probably happened. They get a rather servile host in Saber (Hedi Mejeri) who has a way of winning one over without going too far and his relations with the other residents, who do not speak much, make them seem like the guests who are nothing but fresh meat waiting to be devoured. Of course, the novices are now compelled to spend the night. It is not until the next day when fresh excuses are being churned out to justify why they haven’t left, that everything becomes clear. Sensing that danger before everyone else does is Yassmine’s devoted grandfather Bechir (Bahri Rahli), who did some things while bringing her up wondering how to save her now that she is in the grasp of a perilous concealed past.
While not as ruthlessly explicit as one would think, “Dachra” is a film which has a distinctly gross undertone thanks to its many shrouded animal parts submerged in red liquid. Initially, it feels like the filmmakers will engage in excessive camerawork which is too common in found-footage horrors, but this type of filming is only inhibited to the beginning and end of the film. Additionally, there seems to be the classical trope of “Oops, it’s only a dream” false scares.
Despite the content staying the same, the movie is increasingly more sophisticated in style. There’s a phrase that states, “Boo!”, and Bouchnak, the editor, knows exactly how to take advantage of this. When the students’ cinematographer Hatem Nechi incorporated his impressive widescreen compositions, a feeling of dread was cultivated whether we were in the forest or one of the decrepit rooms that realist production designer Fatma Madani decorated to create-inducing an effect.
There is no doubt the performers know what they are doing, however, one is challenged to claim whether the characters’ increased detail-inclined clashes was a sensible decision. Having mentally prepared twenty minutes in for these people to die screaming deaths, we already seem way ahead. Even the fictive film students who got under everyone’s skin annoyed by infighting were not so combative.
“The Dachra” has a weak screenplay which is packed with clichés. However, it is interesting to note that the film does not feel ridiculous at any point It possesses a menacing atmosphere to spare. It exploits stock genre elements of a sinister child and ominous hooded figures in a beautifully refined way. All this is even more impressive since this very good-looking enterprise purportedly cost a total equivalent to $80,000. Duhcnak does not have to go out of his way to make overt homage to yesteryear Euro grindhouse fare. He can make his movie and instantly be reminded of the Spanish “Who Can Kill A Child” or Lucio Fulci’s Italian “A House by the Cemetery.” These efforts are famous cult movies that are infamous for how deeply they disturb you. And their razzle-dazzle is recalled for everything except the flimsy script.
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