Remy Ishak
Yusuf

An estranged son returns from abroad to care for his dying father, only to uncover dark, sinister secrets about his family that span both his past and present.
I kept waiting for the jump scare. It never came—not in the way I expected, anyway. What Qifarah delivers instead is something far more unsettling: a house that remembers every sin, every lie, every child sacrificed to keep the lights on.
Ghaz Abu Bakar’s first foray into horror isn’t interested in cheap thrills. It’s a slow burn through the kind of guilt that doesn’t just haunt you—it builds a home inside your ribs and refuses to leave.
The film opens with Yusoff (Remy Ishak) returning to Malaysia after years in Cairo, summoned by his father’s impending death. The house he left behind is still standing, but it’s not the same. Neither is he.
The camera lingers on the peeling wallpaper, the way the light slants through the windows just so, as if the house itself is breathing. This isn’t just set design; it’s a character study in decay. Ghaz has said every detail—from the props to the lighting—was meticulously planned to create an atmosphere that lingers.
And it does. The house feels lived in, in the worst possible way. It’s the kind of place where the air is thick with things unsaid, where every creak of the floorboards sounds like a confession.
What makes Qifarah different from the usual Malaysian horror fare isn’t the supernatural elements—though they’re there, in the form of a pale boy who appears in the corners of frames, a monkey doll that shouldn’t move but does—but the way it roots its scares in something far more human: family. The curse at the heart of the story isn’t just about black magic or blood moons; it’s about the deals parents make to give their children a better life, and the way those deals echo down the generations.
Yusoff’s father, Ghazali (Esma Daniel), struck a bargain with dark forces to secure his family’s prosperity, and the cost was steep: children, buried alive or sent away to forget. The film’s title, Qifarah, refers to the Islamic concept of atonement, and that’s what Yusoff is chasing—not just to break the curse, but to absolve himself of the guilt of surviving it.
"A gripping but uneven horror-thriller that thrives on atmosphere and strong performances, though its pacing and predictability hold it back."
The film’s eerie atmosphere and compelling lead performances, particularly Remy Ishak’s portrayal of the estranged son, draw viewers in. However, the slow burn and familiar horror tropes leave some feeling underwhelmed, with the payoff not always justifying the buildup. The family secrets and dark revelations keep audiences engaged, but the execution occasionally feels uneven.
The curses are on screen, but the real spells were being cast on red carpets, in press rooms and inside one very stressed-out actress’ script…
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