Dachra marks multiple firsts at once. It’s the feature debut by writer/director Abdelhamid Bouchnak. More notably, Dachra earns the distinction of Tunisia’s first horror movie, and what an entrance into the realm of genre film. Bouchnak’s debut wears its influences on its sleeves but fully embraces the darkness to bring a new cultural tale of gruesome, dread-filled horror.
Yassmine (Yassmine Dimassi) is surrounded by death. Her parents long dead, Yassmine lives with her grandfather, who spends his days preparing the bodies of the deceased for burial. She suffers recurring nightmares about a woman in black. Yet, none of it affects her tenacity and drive for her academic pursuits as a journalism student at university. When tasked with creating an exclusive investigation report for class, Yassmine teams up with Bilel (Bilel Slatnia) and Walid (Aziz Jbali). They settle on the story of Mongia, a suspected witch found naked and mutilated by the highway 25 years ago, in large part due to Bilel’s access to the asylum where she resides. The confrontation that ensues prompts the trio to take a trek deep into rural Tunisia to discover an antiquated village. Despite an overly kind and welcoming leader, there’s something seriously amiss with this village, putting the students in grave danger.
Much about Dachra’s story will look and feel familiar to American horror audiences. The very setup, in which a trio of students ventures deep into the woods to investigate a legend, borrows from The Blair Witch Project. Once they arrive in the village, Bouchnak uses horror to shed light on issues plaguing the North African region. Namely, the generational conflict that divides modernism and superstitious tradition. Bouchnak uses conventional horror and classic horror homages to broach the subject of witchcraft and grisly practices that still exist.
That means the filmmaker is unflinching when it comes to this village’s brand of horror. Cannibalism, child murders, and corpses pave the way for Yassmine and pals as they realize they’re trapped. Organs spill, and eerie villagers either flee or leer with blood dripping down their chin. The foreboding atmosphere grows thick with dread as the haunting imagery increases. All of the unsettling madness is captured with an artistic intimacy. As an intended indictment, Bouchnak is uninterested in tidy, cheery answers for its core characters.
Those well-versed will find a lot about Dachra familiar, primarily due to its overt, borrowed influences. Bouchnak’s attempts at jump scares rarely land, and it does run overlong. Still, with cultural specificity, the distinct approach adds a new flavor to the mix that captivates. The filmmaker’s use of imagery is effective, as is his ability to ramp up the horror, culminating in a satisfying finale that sticks with you. Dachra shocks with violence and gore, and it underscores the narrative. The regional mythology updates a well-trodden tale of terror, plunging its unwitting leads into abject darkness. It doesn’t entirely break free from convention, but there’s enough nightmare fuel to leave you rattled by the end credits. Best of all, Dachra heralds in a bold new voice in horror from Tunisia.
Dachra opens in theatres and virtual cinemas on July 9.
