French horror-film director, Talal Selhami, needed an escape growing up in suburban Paris as the only child. He fended off the banality of life through horror, and by creating imaginary creatures in his wild imagination.
“My fear and the fascination of creatures is directly related to my childhood. I also started watching horror films pretty young. I must have been 9 or 10 when I saw Nightmare on Elm Street,” the director says.
This early fascination would eventually shape Selhami’s distinctive cinematic voice, culminating in his 2018 horror film, Achoura.
Achoura tells the chilling story of three friends who reconnect when a long-lost companion suddenly reappears.
Together, they must confront terrifying events from their past and battle a monstrous creature born from Moroccan legend.
“The main idea was to make the first creature feature in Morocco,” Selhami explains.
“Even in France, creature features are rare. This was inspired by a nightmare I had as a kid where I was in an elevator, the lights went out, and I saw this giant creature that could turn its head 180 degrees.”
“Even in France, creature features are rare. This was inspired by a nightmare I had as a kid where I was in an elevator, the lights went out, and I saw this giant creature that could turn its head 180 degrees.”
Talal Selhami, Director of Achoura
Moving from Paris to Morocco at the age of eight, Selhami’s love for film became a crucial means of escape from the challenges of adjusting to a new environment.
“Movies like Gremlins and E.T. were so important to our generation. Watching them felt like living something totally fantastic.” This sense of wonder and escapism directly influenced Selhami’s storytelling.
One of the unique aspects of Achoura is its deep roots in Moroccan culture. “Achoura is a celebration of children, like a mix between Christmas and Halloween. It was the perfect context for a horror story,” Selhami says.
The film’s monster is based on the legend of Bougatate, a jinn that preys on children in their sleep. “We built this mythology around Bougatate, tying it to the history of French colonialism in Morocco,” he adds.
The film spans three timelines, all centered around a French compound, adding layers of historical and political intrigue.
While some viewers find the film’s political undertones significant, Selhami sees horror as a universal language. “Horror can reflect globally. It breaks clichés and offers a different perspective on a country’s culture. I hope we can have more horror films from the MENA region. Watching horror can help you understand a culture in a way few other genres can.”
Selhami’s passion for horror is not just confined to the screen but is also a part of his personal journey.
“I remember going to Blockbuster as a kid, heading straight to the horror section. Today, we don’t have Blockbuster anymore; we have Netflix. Making horror films is commercially viable—it’s easier to sell a horror movie than an art-house film. The difference lies in who sells the movie and where it starts its journey, whether at Sundance or a smaller festival.”
Selhami’s previous film, Sinistra, also delves into horror and thriller elements, catering to a growing appetite for the genre in Morocco and France.
“In Morocco, there’s a young audience hungry for new content. When Moroccan films hit theatres, people go and watch them. There’s a gap, and horror is perfect to fill it. In France, the history of cinema is different, but there’s a new wave coming, a generation that will be more political.”
When it comes to financing Achoura it was a challenge, Selhami says—putting it lightly.
“It was a bit of a schizophrenic situation—financing it was a nightmare. We managed to secure around 1.5 million euros, thanks to local Moroccan funds, TV channels, and corporate sponsors like Orange. We started with a visual effects company in Morocco, developing storyboards and art to bring the film to life.”
But the fact he was able to successfully finance the film makes Selhami optimistic about the future of horror in Morocco.
“There are many stories and legends in Moroccan culture that haven’t been explored yet. The Arabic culture has a rich tradition of oral storytelling that needs to transition to visual media. Hopefully, more directors will use this folklore, offering new perspectives.”
With Achoura, Selhami has not only created a landmark in Moroccan cinema but also carved a niche for himself in the global horror landscape. His films reflect a deep connection to his roots while speaking to universal fears and fascinations.
As Selhami continues to push boundaries, he remains a beacon for aspiring filmmakers in the MENA region, proving that even the most terrifying nightmares can lead to the most compelling stories.