[2012] BUNOHAN [LAKONAN FAIZAL HUSSEIN , AIDIL ZAHIRIL ADZIM]

cap_ayam

bila filem ni nak tayang ?

myakayina

mcm menarik filem ni..faizal hussien one of my fave actor..

dauswq

filem2 mcm ni aku tunggu

yatt_takez

FIVE QUESTIONS FOR “BUNOHAN” DIRECTOR DAIN SAID

It’s tempting to refer to Dain Said’s Bunohan as the Malaysian director’s debut film, but Said rides to Toronto on the tailwinds of notoriety stemming from the banning of his proper debut, Dukun. That film dealt with black magic and murder — the latter word being one meaning of his latest film’s title. (“Bunohan” also refers to a local village.) A violent tale involving three estranged brothers, the film is set within the worlds of kickboxing, murder-for-hire, and real estate, and it weaves brutal realism with elements of mythological fantasy. We talked to Said about Malaysian cinema, fight scenes and that first feature.

Filmmaker: Since your first film has quite notoriously been little seen outside of Malaysia, do you consider this film your debut? Or is it a progression, or change of pace, from that previous work?
Said: My first film was not shown in Malaysia, thus no one there has seen it. So by that token I guess you could say Bunohan is my feature debut. Especially since the seed of the idea for Bunohan, and the story flow was written way before I started on the other film. So Bunohan, was close to me, and I kept working at it, albeit in between other jobs to make a living and pay the bills. It’s a familiar story for most independent filmmakers around the world. Then I took a couple of months out in 2008 and wrote the first draft, and a year later taking betwen 3-6 months to the final draft.

There is a change in terms of the pacing and approach, for the obvious reasons that the story is very different, but I do think both films share a kind of darkness, in their themes and concerns; the primordial elements, such as the belief in magic and/or supersttion that pervades and exists in our culture and society, however modern we seem to be. I see it as a kind of underlying seepage that works through both films. LIke the black water swamp in Bunohan, that seems to flow and bring these lives together but also drifts them asunder.

Filmmaker: How did you develop this film, and the idea of violence within family relationships — does this come from any experiences of your own or relationships you’ve witnessed?

Said: If I did use anything from the experiences or characters in my family, then I certainly didn’t do that consciously, though we are and have always been pretty intense and lively in our relationships, but certainly not to the extent of hatred or murder.

But in another way I did tap into some personal experiences. I grew up with my sisters and parents, near this place called Kampung Bunohan, or Murder or Killing Village, which is the setting of our film, up north close to the border of Southern Thailand, where my father was a cop. It was at the end of the railway line, a two-horse town. The border meant nothing, people just cross it like they were crossing a road. It still happens today actually. There’s a strong reminder of the way American directors, (such as Sam Peckingpah and others), in the 60′s and after, who treat Mexico as a mythological paradise for gangsters, misfits and non-conformists. In this part of the world my father told me stories, where violence was prevalent. And the main characters are based on people I knew, such as the kickboxer Adil, and in particular Ilham the assassin, based on someone whom I met in early 2000.

But from the public realm, the idea of the mess the father leaves in his wake, (having taken two wives), and the kinds of emotions that is churned up in its trail, is a well known one within our culture and society. It’s a different kind of violence, and Bakar the scheming brother who is a school teacher, expresses yet again another kind of violence, which has far reaching consequences, and in a way is far more destructive as it impacts into all levels of society and culture, because he uses everything and everybody to get what he wants.
But if I was to be really honest, and dig deep, going back to the personal level, and I don’t think I’m alone in this, I had issues with my father.

Filmmaker: What was your goal in shooting the fight scenes? There are many different ways to film hand-to-hand combat? Did you try to do it differently and, if so, how?

Said: The goal was, at the start of the film, to create an entry point into the story and cultural setting of the film, that of fighting, betting, money, corruption, greed etc. but also there’s a certain beauty, a combination of grace and courage, because kickboxing, especially the way that it is practiced in the villages, still retains for me a certain allure, because it is not about machismo, but is like a dance, and very much centered in the community. A rite of passage for most boys. The fighters stance, is more like a cock fight, in fact in the old days the fights are accompanied invariably with cock fights as a pre-match warm up, for people to place their bets. So I would say the fight scenes especially in the opening sequences of the film, was to set the tone, mood and theme of the film, that of violence, hence also the intercutting to a man having a traditional massage of his penis, the grace, beauty and pleasure of the cock in the fight as it were.

I wanted the fight scenes to feel real. I did not want the high-flying hyper-real feel, with wires etc. because I wanted to express the emotion and spirit of the fight and less the acrobatics.

Even though we of course, for reasons of production logistics, needed to plan and choreograph the fights, but on set, I tried to achieve the ‘realism’ by taking out some choreographic moves, by not over rehearsing, by changing some moves at the last minute. I could only do that because, I had full confidence in my actors, and I had real fighters as their opponents.

link : http://www.filmmakermagazine.com ... director-dain-said/

yatt_takez

Filmmaker:How do you view yourself with Malaysian film culture? Who are your peers there, and do your films find a local audience or a more international one at festivals?

Said: I don’t know if I view myself in the way that your question intended. But I do see the kinds of films that I’d like to make, and the things that I’d like to deal with, is something that comes from my specific personal as well as larger cultural experience. By the age of six I had lived in this ‘cowboy’ town, and spent my pre-teens living in Egypt, then London for most of my youth. The idea and reality of living in a hybrid mix, is something that I’m used to, and is for me a very apt if not necessary way of dealing with my culture, society and the stories that I want to tell…and Malaysia is vey multi-cultural.

Like certain other filmmakers that I like in Malaysia, I think I make films that are not easy to categories, nor fall neatly into the existing poles in Malaysia of (for the sake of understanding as I don’t really subscribe to terminologies) ‘mainstream’ and ‘art-house’.

In Malaysia I have a lot of respect and love of the films made by three film directors in particular, that I feel expresses the nature and state of our culture and society, with their own take in the way that they approach their ideas, themes and subject matter, creating a singular vision and strong unique voice in their films.

An established filmmaker called Uwei Haji Shaari, whom I think can really plug into the Malay psyche, and tell wonderful stories, and gets to the heart of the issue within our culture. No one can do it like he can.

Of course your readers may not know Malaysia, but there are three main different racial groups, and the other is someone I had only come to know recently, who are both Chinese, and they are Chris Chan Chong Fui, who made Karoke (in Malay though he is Sabahan) which made the Cannes’s ‘Director’s Fortnight’ in 2009. A beautiful piece of work which conceptually in its approach opens up new ways of telling a story in our culture, by playing and diffracting the visual text, subtitles and songs in the nations Karaoke bar, as a way of expressing the fragmentation and the void at the center of a homecoming by the protagonist, whose village, and surrounding landscape has been over run by a mono crop culture of oil palm plantation, expressing the corporate zeal for development that takes away from the ‘small’ people the idea and the reality of home.

Ho Yuhang is someone I’ve known for a long time, and he’s made 4 or 5 films. I think his film Raindogs, which has gone unrecognized ( at least here in our country), is a watershed in Malaysian filmmaking. It breaks all the rules, and sets another standard and level of articulation, not just in story telling and structure, but in getting to the center of loss, grief and exile for a Chinese family, at the heart of the nation.

I’m not really sure, as the film isn’t out yet in Malaysia, but judging by the response so far, I think it’s generating a lot of interest. Internationally, I hope, organizers and audience, can get beyond the exotic value, and the kind of expectations, that may not conform to their idea of an ‘indie’ kind of film, that they are used to coming from South East Asia, or from a developing nation.

Filmmaker: What was the hardest element involved with the making of this film?

Said: At first I thought our biggest challenge would be the swamp and tidal movements, and I wanted the beautiful changing light and the dark clouds, that characterize and heralds the coming of the monsoon rains, and also of course the venomous creatures that crawl, but with great planning (3 back up locations for every location, as the area is prone to flooding), and a wonderful core team all round we overcame or rather nature gave us her blessings.

But all that was nothing compared to dealing with the human element in getting it made, financing it, and keeping creative control, that I and my producer, fought so hard for. In the words of Jean Pierre Melville, ‘Your first film, you have to make it with your own blood’.

link : http://www.filmmakermagazine.com ... director-dain-said/

yatt_takez

1st review of Bunohan - on Variety!!

With a list of ancestors that includes Shakespeare, Tran Anh Hung, "The Godfather" and the Bible, "Bunohan" serves up a feast of archetypes and violence amid a story that twines like a basketful of cobras to deliver a movie that's ripe as a mango for a U.S. remake. The border-hopping Malaysian plotline defies pigeonholing -- it's a fight film with echoes of "King Lear," and a ghost story about living people who occupy the edge of existence. Specialty bookers could well be turned off by the brutal violence, but a dose of visceral horror is well worth the trip to "Bunohan."

Helmer Dain Said mixes together magical realism, the kind of shocking mayhem reminiscent of Tran's "Cyclo" and philosophical digressions that might throw another movie off course. But "Bunohan" (both a village in backwater Malaysia, and a word for "murder") never loses the fluid momentum Said achieves right from the opening moments, featuring a vicious Muay Thai fight-to-the-death in Thailand, in which the badly outclassed Adil (Zahril Adzim) is rescued by his best friend Muski (Amerul Affendi). This sets in motion a labyrinthine series of narrative connections which again, thanks to Said's command of his story and medium, only tighten the film's grip on viewers.

Because he's betrayed the terms of the match, Adil has to flee Thailand, but hot on his heels is hired killer Ilham (Faizal Hussein, the Jack Palance of Malaysia), who's been hired by the crooked promoter Jokol (Hushairy Hussin) to kill Adil. Ilham left home as a youth, so he doesn't realize that he and Adil are half-brothers. The pic's themes of patriarchy, familial betrayal, adultery and despair are served up amid myriad plot twists: Jokol, who's trying to get control of a local fight club, is in cahoots with Ilham's other brother, Bakar (Pekin Ibrahim), who is trying to get possession of one remaining piece of their father's land, the one connecting his own acreage to the sea. This will allow him  to build a development that has already led to the relocation of graves -- including that of Ilham's mother. Ilham's grief and rage are biblical, as is his taste for retribution.

Acting is uniformly excellent. The arresting photography includes the occasional trip into hallucination -- Ilham's sequence with a possessed bird, for instance; or a ghostly woman in a gown, wading through an endless green expanse of reeds.

The interrelationships are knotty, but well-defined; the many grudges and grievances always clear. It helps that Said tells a tale rich in literary allusion, but it's also a story aided by its contemporary references as well: While brothers Adil and Ilham are men of action, violence and basic principles, the loathsome Bakar, the educated one, constantly has a cellphone to his ear and a polo shirt tucked into his Dockers. He's easy to hate; Adil and Ilham, despite their outward simplicity, are captivatingly complex creatures.

Tech credits are superb, notably the work of d.p. Charin Pengpanich.

For the record, the film's English title according to press materials (but nowhere onscreen) is "Return to Murder."

link : http://www.variety.com/review/VE1117946050/

yatt_takez

Filem Bunohan Jadi Tumpuan Antarabangsa

Teks oleh Razif Rosdi

KUALA LUMPUR, 23 SEPTEMBER 2011: Sungguhpun filem aksi berjudul Bunohan masih belum ditayangkan lagi di Malaysia, namun filem yang menampilkan ramai pelakon hebat tempatan seperti Faizal Hussein, Zaharil Adzim, Bront Palarae dan Pekin Ibrahim sudah pun mendapat persetujuan dari Universal Pictures untuk menjadi pengedar filem ini ke luar negara. .

Berita gembira ini disahkan sebaik saja filem arahan Dain Said ini ditayangkan di Festival Filem Antarabangsa Toronto ke-36 (TIFF) yang berlangsung dari 7 hingga 18 September lalu.

Ketika filem ini ditayangkan, tiada pelakon ke sana kecuali hanya Dain Said sebaagi pengarah bersama penerbit yang sempat menghadirkan diri ke festival ini.

Menurut jurucakap dari pihak produksi Bunohan, filem ini berkemungkinan besar tidak dapat ditayangkan tahun ini di Malaysia memandangkan slot wajib tayang sudah pun penuh sehingga penghujung tahun.

Bagaimanapun, melalui persetujuan yang sudah pun ditandatangani Universal Pictures sebagai pengedar, filem ini akan ditayangkan di UK, Perancis, Jerman, Australia dan New Zealand pada tahun ini.

Pun begitu, tarikh tayangan itu masih belum diketahui lagi kerana ia masih lagi dalam peringkat perbincangan.

Selain menjadi pengarah filem ini, Dain Said adalah orang yag menulis jalan cerita filem ini. Syarikat milik Dain iaitu Apparat merupakan produksi yang menguruskan pembikinan filem berkenaan bersama Eastermligjt Films yang bertanggungjawab untuk membawa filem ini ke peringkat antarabangsa.

Filem ini dibintangi Faizal Hussein, Zahiril Adzim dan Pekin Ibrahim, Bront Palarae, Nam Ron, Wan Hanafi Su, Sofi Jikan, Amerul Affendi, Hushairy Hussein dan Jimmy Lor. Ia turut menampilkan model tinggi lampai Tengku Azura dan pengarah indie Ho Yuhang sebagai pelakon.

Filem aksi ini adalah sebuah kisah tragik kasih sayang antara 3 beradik dan bapanya yang semakin uzur.

Kisah pergelutan mereka untuk merapatkan ikatan kekeluargaan dan restu, beransur ke arah keganasan, korupsi dan pembunuhan. Filem ini bermula jauh di kampung pedalaman bahagian selatan Thailand, berdekatan sempadan Malaysia.

Sumber : http://www.murai.com.my/article/ ... 525&c=1&s=1

jaa139

pelakon2 yang mantap...

sekngucing

ni baru filem jantan

HangPC2

setuju !!!!!!!!!!!!

eddlisa_uyuk

bunohan tuh...........bunuh2 ke??/

dauswq

ape jadi ngan filem ni?

this must watched film sbb aku kagum ngan hasil pengarahan Dain Said dlm Dukun wlpn hanya 8 min jek tayangan...

desune

tyg tahon depan kan..
bagus...kurang sket pelem sampah thn depan
ni asek cite hantu je..byk beno antu kt mesia nih..
at least ada kelainan sket pelem mesia

MFI

terbaik ahhh!! wajib tengok ni!

isabel

bila citer ni akan bakal ditayangkan..?

annehuda

Faizal Hussein Diburu Wartawan E! News & Discovery

Oleh SITI AZIRA ABD AZIZ

KUALA LUMPUR: Selepas filem Bunohan ditayangkan di Amerika Utara dan bakal menembusi pasaran antarabangsa, nama Faizal Hussein, 44, menjadi sebutan para media tempatan dan luar negara.
Filem yang turut dilakonkan oleh Zahiril Adzim, Amerul Affendi, Pekin Ibrahim, Nam Ron dan Bront Palarae itu ditayangkan di Amerika Utara dalam sebuah tayangan perdana sempena 'Festival Filem Antarabangsa Toronto 2011'.
Menurut Faizal, melalui filem itu juga dia mendapat pendedahan dan pengalaman baru termasuk akan ditemubual oleh media dari luar negara iaitu program hiburan E! News di saluran E! dan saluran Discovery “Saya juga digelar sebagai ‘Jack Palance Malaysia’ dalam sebuah ulasan tentang Bunohan dari portal variety.com. “Impak yang diberikan oleh filem Bunohan arahan Dain Said memberikan komen yang bagus dan saya melihat fenomena di mana pembikin filem tempatan semakin meningkat naik.

“Paling penting adalah kandungan filem itu sendiri,” katanya dalam satu sidang media pelancaran filem Khon Malay, Taiko dan 1945 di Restoran Platinum Terrasse, Jalan Genting Klang, di sini, Isnin. Bercerita lanjut tentang reaksinya apabila bakal berlakon dalam ketiga-tiga filem tersebut, Faizal akui bersyukur apabila peminatnya masih dahagakan lakonan antagonisnya. “Saya sudah lama bersahabat dengan pengarah filem Imran Ismail yang akan mengarahkan filem Khon Malay dan 1945. Jadi, kami selalu berbincang idea dan saya tidak menunggu tawaran ini sebaliknya dipilih kerana ia merupakan hasil kolaborasi saya dengan Imran. “Dia pernah membuat penyelidikan dan pembangunan (R&D) dan hasilnya peminat Faizal Hussein menyukai saya melakonkan watak jahat. “Saya juga tidak menyangka masih ada peminat yang ingin menonton pelakon tua seperti saya sebagai hero. Rezeki ini juga hasil kepercayaan yang diberikan oleh pengarah filem,” katanya lagi yang turut berlakon dalam telefilem Anak untuk Astro terbitan Suhan Movies & Trading Sdn Bhd yang dimiliki oleh sepupunya, pelakon Rosyam Nor.

Faizal akui pernah berehat daripada industri perfileman pada tahun 1995 dan menumpukan kepada lakonan drama selama 5 tahun. Kemudian dia kembali ke layar perak pada tahun 2000. “Apabila saya berlakon filem semula, saya selesa memilih watak antagonis seperti dalam filem KL Menjerit, Leftenan Adnan dan Janji Diana untuk memberikan kelainan memandangkan koleksi filem saya sebelum itu tidak sehebat mana. “Jadi, untuk filem terbaru ini, saya mahu lihat seramai mana peminat Faizal Hussein yang akan datang menonton filem saya dengan watak yang bagaimana,” katanya yang akan turut berlakon di samping isterinya, pelakon Suhaila dan dua anaknya, Fazryn, 6, dan Fazrick, 3, menerusi filem Khon Malay. Dalam perkembangan lain, filem lakonan Faizal berjudul Abu Ya sedang ditayangkan di pawagam tempatan dan filem Bunohan akan berada di pawagam pada Mac 2012.

kopipes dr board gossip...kredit to takeshi_anwar

harisbee

selalu film2 bermutu cam ni...org malaysia bukan nak tengok.....tp kalu filem picisan razak modidin dan ahmad idham box office sebok meroyan...tp nak tgk film  bermutu x jugak

yatt_takez

Karya tulus dari hati

Oleh SHAZRYN MOHD. FAIZAL
shazryn.faizal@utusan.com.my
Gambar AMIN FARIJ HASAN dan ihsan APPARAT FILMS

FILEM Bunohan juga mendapat sentuhan pelakon hebat, Wan Hanafi Su sebagai Pok Eng.

ADA seorang teman bertanya, apakah istimewanya filem Bunohan sehingga ia mampu menjelajah dunia walaupun belum ditayangkan di negara ini.

Bukan itu sahaja, Bunohan juga mencipta rekodnya sendiri apabila ia mendapat hak pengedaran oleh Universal Pictures untuk menayangkan filem itu hampir ke seluruh dunia tidak lama lagi.

Apa yang membanggakan, Bunohan juga kini sudah mendapat tempat di beberapa festival filem antarabangsa sehingga mendapat ulasan yang sangat positif daripada pengkritik filem asing.

Sebagai contoh, sewaktu Bunohan ditayangkan di Festival Filem Antarabangsa Toronto 2011 di Kanada sekitar September lalu, ia merupakan antara filem asing yang mendapat perhatian meluas.

Tidak cukup dengan itu, Bunohan juga mendapat ulasan positif dari majalah hiburan ternama, Variety dan The Hollywood Reporter yang menyifatkan filem itu sebagai sebuah karya yang cukup menakjubkan.

Malah, pujian melambung juga telah diberikan kepada semua barisan pelakon yang telah memberikan lakonan hebat dan mantap sehinggakan salah seorang pelakon utamanya, Faizal Hussein yang membawakan watak Ilham dalam filem itu dilabelkan sebagai Jack Palance Malaysia.

Memang sukar untuk memberikan jawapan itu kerana penulis sendiri belum pernah menonton filem tersebut melainkan sedutannya sahaja seperti mana yang terdapat di YouTube.

Bertemu dengan pengarahnya, Dain Said untuk membicarakan tentang kejayaan awal Bunohan, dia sendiri tidak pernah menyangka bahawa filem kedua arahannya itu akan mendapat tempat di peringkat dunia.

Seperti mana pengkarya yang lain, tujuannya hanya satu iaitu mahu menghasilkan filem yang bermutu tinggi dan berkualiti agar ia dapat dinikmati oleh masyarakat.

"Saya cukup sedar di sebalik kejayaan yang saya kecapi menerusi Bunohan, ada juga pihak yang melemparkan kata yang kurang manis dengan mengatakan saya lebih mengutamakan pasaran antarabangsa berbanding negara sendiri.

"Jujurnya, bukan itu matlamat saya. Sebaliknya, saya menganggap kejayaan Bunohan sebagai satu rezeki yang saya sendiri tidak pernah terfikir.

"Bukannya saya tidak mahu menayangkan Bunohan di negara sendiri. Saya perlu ikut giliran Syarat Wajib Tayang sama seperti deretan filem lain yang perlu menunggu tarikh tayangan.

"Berkat kesabaran menunggu, insya- Allah, Bunohan akan ditayangkan di pawagam tempatan bermula Mac tahun depan. Saya harap penantian itu akan berbaloi untuk penonton di negara ini," jelasnya dalam nada penuh mengharap sewaktu ditemui di kediamannya di Titiwangsa, Kuala Lumpur, baru-baru ini.

Sekadar berkongsi cerita, Dain memberitahu peluang Bunohan untuk berkelana ke festival antarabangsa sebenarnya datang tanpa diduga.

Semuanya bermula dengan hubungan rapatnya dengan seorang kenalan baik, Tim Kwok yang mempunyai rangkaian dengan beberapa pihak dan agen pemasaran filem di Amerika Syarikat (AS).

Kebetulan kata Dain, sewaktu mereka ke Hong Kong, pertemuan dengan seorang agen dari Easternlight Films yang berpangkalan di Los Angeles (AS) telah membuka pintu untuk Bunohan.

"Jadi, bermula daripada situ, saya membina rangkaian itu dan Alhamdulillah, Bunohan mendapat tempat di peta perfileman dunia. Semua ini tidak datang bergolek. Semuanya adalah berkat usaha keras dan kesungguhan untuk menghasilkan filem ini.

"Bukan mahu mendabik dada dan merasakan diri saya seorang yang hebat tetapi apabila ada pihak yang menghargai filem tempatan seperti ini, bukankah itu satu kejayaan dan penghargaan?

"FILEM kita sebenarnya mampu untuk menongkah arus perfileman antarabangsa dengan berbekalkan iltizam serta mutu kerja yang mampu membuka mata orang luar," itu kata Pengarah Bunohan Dain Said yang masih lagi tidak percaya dengan sambutan dan penghargaan yang diberikan oleh penonton antarabangsa sewaktu di Toronto tempoh hari.

Bukan hanya di Toronto, Bunohan juga telah mendapat undangan untuk ditayangkan di Fantastic Fest, Austin, Texas, Amerika Syrikat (AS) pada September lalu.

Terbaru, Bunohan menjadi satu-satunya pilihan filem dari Malaysia untuk ditayangkan di Festival Filem ASEAN yang akan berlangsung selama dua hari bermula esok (16 November).

Benar. Industri kita begitu kecil dan kerdil tetapi Dain telah membuktikan bahawa kuasa filem tempatan juga sebenarnya besar dan gah di mata karyawan luar.

Dengan ini, secara tidak langsung Bunohan telah meneruskan legasi seni filem-filem tempatan selain menempatkan diri Dain dengan pengarah filem lain yang mana karya mereka mendapat perhatian di luar negara.

Dalam kesempatan itu juga, Dain atau nama penuhnya, Dain Iskandar Said turut ditanya tentang keistimewaan filem Bunohan yang pada awalnya menggunakan judul Bunga Lalang itu.

Sambil merenung jauh sebelum memberikan hujahnya, sebagai pembikin filem, Dain menyifatkan Bunohan adalah naskhah yang dilahirkan dari hati yang tulus serta dekat di hatinya.

Apatah lagi, dibesarkan di Tumpat, Kelantan, Dain begitu tertarik dengan aktiviti tomoi yang menjadi aktiviti wajib dan menjana ekonomi daripada kelab-kelab tomoi.

"Boleh dikatakan Bunohan lahir daripada pengamatan dan pengalaman saya sewaktu kecil yang melihat bagaimana aktiviti tomoi juga sebenarnya mempunyai metafora di sebalik definisi ganas yang sering dilabelkan.

"Ia sebenarnya menghubungkan ikatan kekeluargaan mereka menerusi perniagaan yang dijalankan sekali gus memberi idea kepada saya untuk menulis naskhah ini.

"Mungkin ada yang tidak tahu, Bunohan itu juga merupakan sebuah tempat di Kelantan," katanya yang memberitahu kisah Bunohan sudah berada dalam mindanya sejak lima tahun lalu sebelum dia mengarahkan filem pertamanya, Dukun.

Namun kata Dain, bukanlah kisah tomoi yang menjadi tunjang kepada penceritaan Bunohan tetapi ia sebenarnya memaparkan kisah hubungan kekeluargaan antara tiga adik-beradik yang dilakonkan oleh Faizal, Zahiril Adzim dan Pekin Ibrahim.

Ternyata Dain boleh dianggap sebagai seorang pengarah yang cukup bertuah kerana mendapat barisan pelakon yang mantap dan berkaliber sekali gus meletakkan filem ini sebagai antara yang terbaik dan wajar menjadi tontonan wajib kelak.

Jelas Dain, dia begitu tertarik untuk mendapatkan pelakon yang mempunyai bakat lakonan hebat yang mampu diketengahkan dalam filem ini selain menghidupkan watak masing-masing.

Boleh dikatakan Bunohan sebuah filem lelaki kerana hampir kesemua pelakonnya adalah pelakon lelaki dan hanya model terkenal, Tengku Azura sahaja satu-satunya pelakon wanita dalam filem ini.

"Saya cukup kagum dengan persembahan setiap pelakon dalam filem ini. Sebagai pengarah, saya tahu di manakah kekuatan mereka dalam membawakan watak yang dicipta untuk mereka.

"Pekin misalnya, pada awalnya watak untuknya adalah kecil sahaja tetapi mungkin sudah menjadi rezekinya, watak Bakar menjadi miliknya.

"Begitu juga dengan Zahiril yang saya rasakan mempunyai aura yang sangat kuat sewaktu menontonnya beraksi di pentas teater. Ternyata watak Adil cemerlang di tangannya," ujarnya yang berpuas hati dengan mutu lakonan setiap pelakonnya.

Selain mereka, Bunohan turut dibintangi oleh Namron, Bront Palarae, Wan Hanafi Su, Hushairy Husin, Amerul Affandi dan Soffi Jikan.

Source : http://www.utusan.com.my/utusan/info.asp?y=2011&dt=1115&pub=Utusan_Malaysia&sec=Hiburan&pg=hi_01.htm

yatt_takez

Bunohan bukan penebus kekecewaan

Oleh SHAZRYN MOHD. FAIZAL
shazryn.faizal@utusan.com.my

Satu babak menarik daripada filem Bunohan.

DALAM pertemuan dengan Dain Said itu juga, pengarah yang mudah didekati ini sempat ditanya apakah Bunohan dibikin bagi menebus kekecewaannya.

Manakan tidak. Filem pertamanya, Dukun yang dihasilkan lebih lima tahun lalu sehingga kini masih belum menampakkan bayang bahawa ia akan ditayangkan.

Sememangnya ramai yang menunggu dan masih lagi menyimpan perasaan teruja untuk menonton hasil sentuhan Dain menerusi filem Dukun yang dicanang sebagai antara filem terbaik Malaysia yang pernah dihasilkan.

Sehinggakan menonton sedutan filem itu sewaktu ditayangkan di pawagam tempatan ketika itu sudah berupaya membangkitkan rasa tidak senang duduk untuk terus menonton filem itu.

Ditunjangi barisan pelakon hebat negara seperti Datin Umie Aida, Faizal Hussein, Adlin Aman Ramli, Soffi Jikan, Namron, Hasnul Rahmat dan Elyana, Dukun dilihat sebagai sebuah naskhah agung Dain yang mampu mencipta sejarah dan berpotensi untuk berkelana ke seluruh dunia menyertai gelanggang filem antarabangsa.

Namun, entah di mana silapnya, filem terbitan Astro Shaw itu senyap dan sehingga kini untung nasib Dukun masih belum diketahui.

"Jujurnya, saya tidak terkejut apabila Dukun sehingga kini tidak dapat ditayangkan hanya kerana disebabkan faktor-faktor yang tidak perlu dihuraikan di sini.

"Sebagai pengkarya, saya tidak boleh terus meratapi kesedihan itu. Hidup dan perjuangan perlu diteruskan.

"Ya, siapa yang tidak sedih apabila segala penat lelah menghasilkan yang terbaik tetapi akhirnya tidak dapat ditunjukkan. Tetapi, adakah dengan bersedih dan bermuram durja sepanjang masa akan mengubah segala-galanya?.

"Tetapi, saya percaya kepada takdir dan rezeki bahawa di penghujung jalan yang gelap, masih ada sinar terang untuk kita meneruskan perjalanan. Alhamdulillah, semuanya dapat dibuktikan dengan Bunohan," jelasnya tanpa selindung.

Dalam konteks Dukun kata Dain, dia lebih kasihankan dan tumpang simpati kepada barisan pelakonnya yang telah memberikan komitmen serta disiplin kerja yang cukup hebat.

Bukan 100 peratus sebaliknya jelas Dain, setiap seorang daripada pelakon filem itu mencurahkan tenaga sebanyak 150 peratus bagi memastikan Dukun mencapai piawaian yang dikehendaki.

Bukan sengaja mahu memuji melangit, tetapi dia cukup kagum dengan lakonan yang diberikan oleh Umie sebagai Diana dalam filem itu.

Begitu juga dengan Faizal yang membawakan watak peguam yang mana diakui sendiri oleh aktor itu sebagai watak terbaik sepanjang bergelar anak seni.

"Apa pun yang terjadi saya menganggap semuanya ada hikmah. Saya sendiri tidak tahu apakah nasib Dukun adakah ia akan dapat ditayangkan atau diperap sampai bila-bila.

"Tetapi, tidak mengapa. Saya suka mengambil sikap optimis dalam kerjaya saya sebagai pengarah dan mahu terus menghasilkan karya dapat diterima dengan baik oleh masyarakat.

"Sudah pasti saya juga mahu bekerja dengan lebih ramai pelakon di Malaysia seperti Rosyam Nor misalnya. Saya percaya setiap pelakon ada kelebihan dan keistimewaan mereka sendiri," ujarnya bersungguh.

Ditanya apakah dia sudah memiliki idea mahupun naskhah terbaru selepas Bunohan, seraya tersenyum Dain hanya memberitahu: "Ada beberapa cerita yang sedang berlegar di minda saya ketika ini. Tetapi biarlah kita fokus kepada Bunohan dulu. Apabila tiba masanya, saya akan umumkan apakah projek saya seterusnya."

Source : http://www.utusan.com.my/utusan/info.asp?y=2011&dt=1115&pub=Utusan_Malaysia&sec=Hiburan&pg=hi_02.htm

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From Tumpat to Toronto

By ALLAN KOAY
entertainment@thestar.com.my

From his boyhood adventures in cinema, Dain Said is today recognised internationally as the director of the critically-acclaimed Bunohan.

GROWING up in small town Tumpat, Kelantan, in the 1970s, filmmaker Dain Said, as a boy, eagerly awaited the travelling cinema that came to town every now and again. The two guys who brought the magic lantern and big screen to town would give out “sekla” (circulars, or leaflets) from their lorry, announcing the night’s offering, often also blaring through loudspeakers urging the residents to come and see the film.

Sitting in his home in Kuala Lumpur now, Dain laughs when reminiscing about the old days and recalling the fun times he had back then being introduced to the magic of cinema.

Nitty-gritty: Bunohan director Dain Said preparing a scene with actor Faizal Hussein. Dain was not afraid to get down and dirty himself to get that perfect shot or to help his actors do it right.

“They didn’t have current films,” says Dain. “They showed old films, because it was cheaper. This was sometime around the 70s. I saw Ben-Hur, which was made in the 20s. I was like, wow! That was my first memory of cinema.”

From the days of watching classic epics from halfway across the world, he is today presenting his own film to audiences halfway across the globe. Dain and his producer Nandita Solomon have just returned from the Toronto International Film Festival (TIFF), where his action-drama Bunohan was screened to the public and also industry players.

Dain and Nandita went there as a little-known team of director and producer, along with their Los Angeles-based co-producer Tim Kwok. Then something quite extraordinary happened. The response from the first two screenings of the film had been good, but what was better was when Variety reviewer John Anderson was in the audience.

Tracing the archetypal violent story of fathers and sons to The Godfather, Vietnamese director Tran Anh Hung’s films, and even Biblical and Shakespearean origins, Anderson goes on to say in his review that Bunohan is “... a fight film with echoes of King Lear, and a ghost story about living people who occupy the edge of existence.”

Anderson went on to praise the film’s pace and momentum, even describing actor Faizal Hussein as “the Jack Palance of Malaysia”.

A shot from the film Bunohan, which will find its way home next march.

That amazing review started getting the little film from Malaysia noticed by industry folks, critics and the general public, and Dain being recognised on the streets.

“There were instances where people stopped us on the streets,” says Dain. “A couple of kids walked past us and kept staring at us. We looked back, and they looked back, and they kind of went, ‘You’re the director of that film, Bunohan, right?’ I said, ‘Yeah.’ And they said they loved the film. That was kind of nice.”

Right after TIFF, Bunohan went on to screen at the Fantastic Film fest in Austin, Texas, where it garnered a full house (probably due to the Variety review and positive word from other publications and websites). There was reportedly a queue at the box-office of people wanting to see if there were extra tickets.

Not bad for a local film set in a borderland that has tomoi fight action, wayang kulit, a dead Ho Yuhang, and a woman who turns into a crocodile. Although some things were cultural-specific, says Dain, foreign audiences still managed to digest the drama and action, the relationship between the father and his sons, and the backdrop of folklore. Surely, the story about strained familial ties and estrangement, and the poignancy when tradition is washed away by the currents and tides of time and modernity, should have a universal resonance.

“They understood the story,” says Dain. “There were certain cultural nuances that they might not have gotten, but they translated it through their own cultural experiences. One blogger wrote about Ilham living on a boat, and he referred it to his own American cultural experience, which was Miami Vice where Don Johnson’s character lives on a yacht!”

Dain admits they had a slow start, but after the second screening of the film and the Variety review, things started to roll a little easier.

“We had a reception, and we could only have a small one (for industry and media people),” explains Dain. “What was really nice was that the people we wanted to meet did come, and they stayed till the end. They didn’t have to because there were 15 parties going on all over town. But they did and it was great.”

And then there was the unexpected local element that added to the TIFF experience, and brought some cheer for Dain during the Aidilfitri season. A family from Ipoh that ran a restaurant in Toronto cooked dinner for Dain and gang and also laid out the food for the reception.

“They said, ‘It was Raya recently, so let us make some rendang for you!’” says Dain. “They were very, very proud that a Malaysian film was there. Their sons are also really into films and had done film studies and worked on small productions. The food also helped to bring people to our reception and got them to stay!”

Source : http://ecentral.my/news/story.asp?file=%2F2011%2F10%2F27%2Fmovies%2F9646913&sec=movies