“Kaishaku” Cuts Deep: Inside the Psychological Horror That Dares to Ask What Mercy Costs

When a desperate mother is drawn into a Faustian pact with her dying friend, the result isn’t just a chilling supernatural tale—it’s a dissection of guilt, morality, and survival. Kaishaku, the haunting new feature from producer Alain Azoulay and director Harry Locke IV, makes its debut as the Centerpiece Feature at the Film Festival at Hollywood Park, marking a milestone moment for Azoulay Pictures and its creative team.

“Kaishaku, to us, is a story that touches upon the current zeitgeist,” says producer Alain Azoulay. “It explores themes audiences are experiencing now—financial burdens, parenthood, mental illness, guilt. The real horror is in those human choices.”

A tale born from urgency

In early 2023, with a writer’s strike on the horizon, Azoulay Pictures found itself with the rare gift of funding—but no script ready to roll. Azoulay turned to InkTip, where screenwriter Mike Gerbino’s Kaishaku rose from a stack of over 450 submissions. “Its simplicity, uniqueness, and cultural relevance hit us right away,” Azoulay recalls. “It checked every box—and then some.”

The film stars Stefanie Estes (Soft & Quiet), Alyshia Ochse (True Detective), Rob Kirkland (Mayor of Kingstown), and Robbie Allen, with Azoulay himself appearing as Frank.

“When the role of Frank came up, I trusted Harry’s vision completely,” says Azoulay. “I could relate to a man who’s worked the same job for decades, faced with hard choices that affect people’s lives. That’s the heart of Kaishaku.”

From western roots to psychological dread

Director Harry Locke IV, whose earlier film The Redeemer (watch here) first paired him with Estes, was determined to make something both intimate and unnerving.

“Working with Stefanie was transcendent,” Locke says. “I wanted to find something that could reunite us on a bigger scale. Kaishaku gave us that chance.”

Locke’s background spans blockbuster franchises (X-Men, Allegiant), Sundance favorites (Tangerine), and award-winning docs (Icarus). But Kaishaku, he admits, pushed him into new territory.

“I never saw myself working in horror,” Locke notes. “But filmmakers like Ari Aster and Jordan Peele changed what the genre could be. For me, it wasn’t about scares—it was about weight. We focused on the psychological thriller first and let the supernatural emerge organically.”

The sword and the spirit

The film’s Japanese imagery—most strikingly, the recurring katana—wasn’t part of the original script. Locke recalls how the idea transformed the film:

“I kept picturing a sword where a gun should’ve been,” he laughs. “It made no sense—until our production designer, Robbie Allen, told me about the kaishakunin, the assistant in a seppuku ritual. Suddenly, it all clicked. It gave the story cultural gravity and a moral mirror.”

That single idea became the film’s spine—its title, Kaishaku, translating roughly to “the act of mercy killing.”

“Witness the consequence of mercy”

The film’s tagline encapsulates its central paradox. “It’s a story about compassion corrupted,” says Locke. “When an act of mercy is tainted by need, it reshapes fate. That’s what haunts our characters.”

Azoulay echoes the sentiment from a producer’s standpoint. “The selection as Centerpiece Feature validates three years of relentless work,” he says. “It’s our beacon to investors and audiences alike. We’re thrilled—and grateful.”

From Casablanca to Cannes to Hollywood Park

Azoulay’s global path—from Casablanca to the Cannes Film Festival to his first U.S. feature—has defined his career. “Back in 2013, I represented seven films at Cannes, two directed by Harry,” he recalls. “Meeting Sasha Yelaun at a crepe stand there led, eleven years later, to producing Kaishaku. The connections never stop paying forward.”

Financing the film drew from Azoulay’s other world: real estate and mortgage lending. “Section 181 of the tax code was our vehicle,” he says. “It’s the only structure I know that really helps indie producers—and it’s expiring soon. Anyone serious should reach out while it still exists.”

Building a legacy of indie trust

“Producing a film is like going to war,” Azoulay says, quoting longtime collaborator Humaid Alsuwaidi. “You need people who are humble, trustworthy, and willing to go the extra mile. That’s what we’ve built at Azoulay Pictures.”

Locke adds, “Kaishaku is the culmination of over a decade of creative trust. We’ve built something together that feels personal—and dangerous in the best way.”

What’s next

Azoulay Pictures’ next project, Sweetwater Insurrection, written by Locke, dramatizes an 1885 Wyoming uprising between Chinese immigrants and white coal miners. The screenplay was a 2023 WeScreenplay Diverse Voices Finalist and scored an “8” on The Black List.

“We’re just getting started,” Azoulay says. “Kaishaku proved what we can do on a limited budget. Sweetwater Insurrection is the next evolution.”

Explore the silent truth

“At its core,” says Locke, “Kaishaku asks how far we’ll go to protect the ones we love—and what price we’re willing to pay when mercy becomes its own form of violence.”