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Plus her teenage daughter Laura (Marie Narbonne) is angry that kids at school are calling her mother “mama chirp.” But the critters aren’t replicating, and that’s hurting business. Virginie (Suliane Brahim), a single mom raising her son and daughter, tries to make ends meet by breeding locusts at her home in small-town France to sell as high-protein food sources. The directors haven’t abandoned their extreme roots: there’s very real-looking rabbit slaughter and a death by hoof. It‘s scary, even though the film sometimes detours into broad-brush teens vs. Here they tone down the bloodletting with a story that explores feminism and post-colonialism with a supernatural spin. “Kandisha” is the latest film from Alexandre Bustillo and Julien Maury, whose 2007 debut “Inside” was a face of the grisly genre known as the New French Extremity. With help from an exorcist imam, Amélie learns that stopping Kandisha’s killing spree comes with its own deadly price. When she gets home, she draws a pentagram in her own blood and summons Kandisha by name. Later that night, Amélie’s ex-boyfriend violently attacks her along a dark path. Morjana explains that Kandisha is a figure from Moroccan folklore - “the ghost of a beautiful woman who destroys men,” she says - who can be called on to exact revenge. Inside an abandoned building in a Paris suburb, the graffiti artists Amélie (Mathilde Lamusse), Bintou (Suzy Bemba) and Morjana (Samarcande Saadi) discover the words “Aicha Kandisha” scrawled on the walls. Merrill wraps things up with a low-budget, gross-out, high-concept creature-feature scene that’s one of the most bizarre and creepiest endings I’ve seen all year. But it’s in those unknowns - What is this force? How does it spread? Who is that in the hallway? - that the film gets its low-fi drive. But as Jesse’s body plays host to an increasingly monstrous being, his actions turn deadly.Ī lot remains a mystery in “Rot,” which might leave some viewers flustered. Reeling from the affliction, Jesse lashes out at Madison and his friends, who presume he’s dealing with nothing more than mild rage. Things take a pernicious turn when one of the residents force-plants a big kiss on Jesse, infecting him with an evil, body-spasming entity of unexplained origin. The story centers on Madison (Kris Alexandria) and Jesse (Johnny Kostrey), a couple whose rocky relationship is tested as she devotes time to her demanding job as a teacher’s assistant and he languishes as an orderly at an assisted living facility. The writer-director-editor Andrew Merrill makes a chilling debut with this indie possession-contagion film. The script, written by Landon and Michael Kennedy, has a playful gay streak throughout, including Millie’s friendship with Josh (Misha Osherovich), a proud femme queen, and a delightfully awkward scene in which Millie’s crush Booker (Uriah Shelton) makes out with the Butcher. It starts with gushing gore but finishes with a surprising amount of heart. The attack triggers a supernatural body-swap: the Butcher becomes a sassy Millie and Millie reinvents herself as a coldblooded Butcheress.ĭirected by Christopher Landon (“Happy Death Day”), “Freaky” is a playful throwback farce that feels original even as it borrows from classic slashers (“Friday the 13th”), body switch comedies (“Freaky Friday”) and ’90s meta-horror (“Scream”).
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As if that’s not tough enough, she gets stabbed with a mythical dagger one night by a teen-hating serial killer named the Blissfield Butcher (Vince Vaughn). Millie (Kathryn Newton) is an outcast at Blissfield Valley High. There was a dearth of new queer horror movies for Pride Month, so it’s a treat to have this antic horror-comedy make up for it.
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