KOKO-DI KOKO-DA (2019) Reviews and overview


Koko-di Koko-da is a 2019 Swedish-Danish comedy horror film about a young couple who are terrorised in the woods.

Written and directed by Johannes Nyholm, the Beofilm-Film i Väst production stars Peter Belli, Leif Edlund, Ylva Gallon, Katarina Jakobson, Morad Baloo Khatchadorian and Brandy Litmanen.

As a young couple goes on a trip to find their way back to each other, a sideshow artist and his shady entourage emerge from the woods, terrorising them, luring them deeper into a maelstrom of psychological terror and humiliating slapstick.

Reviews [click links to read more]:
“The subtle shifts in climax from doomed encounter to doomed encounter exhibit a psychological nastiness that suggests the director aims to be as unkind to his audience as he is to his characters. But there is a beauty in his movie that rests surprisingly well alongside the surrounding trauma.” 366 Weird Movies

” …[Nyholm] has a great eye for an image, though, whether it’s the shocking sight of the after-effects of each death scene as the camera pulls away or the two desperately melancholic shadow puppet shows that explore Elin and Tobias’ loss. He has a feel for emotional resonance…” Eye for Film

” …Koko-di Koko-da is a gorgeous film with a dreamlike/nightmarish quality to most of its shots. There are also shadow puppet animated sequences that look unique and unlike anything I’ve seen before. I’d call Koko-di Koko-da a very stylish film with little substance and scares that become way too repetitive to be effective. To top it all off, the ending is unsatisfying and abrupt.” Film Threat

“From the relentless bloodlust of the film’s villains to the visual inventiveness of Nyholm’s eerie handmade cartoons to the enigmatic white cat that shows up every now and again purring with symbolism, meaning here almost always feels both obvious and ambiguous. The product is a strangely hypnotic, occasionally monotonous hour and a half, and a film of jarring juxtaposition that feels simultaneously dense and underdeveloped.” Flickering Myth

“The cinematography is titillating with each cyclic event of death ending with a scooped-up, long-drawn above-the-head shot of the final cause. This puts the image and its terrifying end into the forefront making the almost surrealistic approach ring truer.” High on Film

Koko-di Koko-da walks a difficult tightrope, balancing surrealism, nihilistic humor, and gripping violence. Like Ari Aster’s work, it plumbs the depths of grief with a singular vision. For horror fans looking for a different twist on the killer(s) in the woods, Nyholm’s film is highly recommended.” Modern Horrors


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