Hidup Azroyy!!!!!!!
BARISAN PELAKON FILEM BUNOHAN
Ilham : Faizal Hussein
Adil ‘Bunga Lalang’ : Zahiril Adzim
Bakar : Pekin Ibrahim
Deng : Bront Palarae
Pok Wah : Namron
Pok Eng : Wan Hanafi Su
Jolok : Hushairy Hussin
Muski : Amerul Affendi
Awang Sonar : Soffi Jikan
Jing : Jimmy Lor
Mek Yah : Tengku Azura
Cina Burung/Bird Man : Ho Yuhang
Chart : Carliff Carleel
Bakri : Mat Seman
Kruba : Hariry Abdul Jali
Gasi : Md Eyzendy
Ketot & Tapa : Sufian Muhammad
Adik : Sharidan
SINOPSIS FILEM BUNOHAN
BUNOHAN adalah sebuah kisah tragik kasih sayang antara tiga beradik dan bapanya yang kian 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. ‘Bunga Lalang‘ atau Adil (ZAHIRIL ADZIM) mengambil bahagian dalam pertandingan tinju Tomoi yang melibatkan pertaruhan wang, maruah dan nyawa.
Sahabat lama Adil sempat menyelamatkannya dari pinggir maut, mengubahkan mereka menjadi pelarian penganjur pertinjuan haram tersebut. Ilham (Anugerah Skrin 2003, Pelakon Sokongan Terbaik, Faizal Hussein), seorang pembunuh upahan dihantar untuk memburu mereka sesedang kedua-dua sahabat itu berada dalam perjalanan pulang ke Kampung Bunohan. Kampung Bunohan juga merupakan kampung halaman Ilham yang sudah lama ditinggalkan. Ilham tidak pernah pulang walaupun ketika ibunya berada di anjung nyawa. Pada waktu yang sama, Bakar ( PEKIN IBRAHIM) abang sulung Adil juga pulang ke Kampung Bunohan kononnya untuk menjaga bapa mereka yang uzur.
Perwatakan solehnya tersembunyi niat buruk seorang usahawan bercita-cita tinggi. Bakar seorang yaang berhati kejam yang sanggup melepaskan segalanya untuk mencapai kekayaan. Sekembali mereka bertiga ke kampung halaman di mana takdir mereka menunggu. Dalam bayangan kegelapan diri masing-masing timbul, memori silam yang dipenuhi keinginan, penghukuman, dan perasaan kehilangan. Dalam BUNOHAN, di sinilah bermulanya segala keperitan.
KAMPUNG BUNOHAN
BUNOHAN dinamakan berdasarkan nama sebuah kampong di Kelantan di mana kisahnya bermula. Kampung Bunohan terletak berhampiran sempadan wilayah Narathiwat Thailand. Kawasan sempadan di Kelantan ini telah lama dikenali sebagai “tanah jahat’ Malaysia. Panggilan ini diberi berdasarkan sejarah pertelingkahan di antara rakyat Thailand yang sebelum ini telah menyebabkan banyak pembunuhan. Ada juga yang berpendapat bahawa pertumpahan darah semasa Penjajahan Jepun yang menghasilkan gelaran ‘Bunohan’.
Hari ini, penglibatan keganasan di dalam kampong tersebut lebih berlandaskan cereka dan bukan fakta. Walaubagaimanapun namanya telah memberi satu anggapan yang ranggi kepada penduduk-penduduknya. Terdapat satu pepatah yang berbunyi: “Menghina seseorang dari Kampung Bunohan, adalah seperti menghina penduduk sekampung.” Kampung tersebut juga merupakan tempat asal ritual pemulihan tradisional yang dikenali sebagai “Main Puteri”, sebuah upacara yang dilangsungkan untuk mengusir roh-roh yang dipercayai sebagai punca penyakit psikologi.
Sedikit sedutan trailer Bunohan dari youtube:-
Review filem bunohan dari variety.com
Bunohan
(Malaysia)
By JOHN ANDERSON
An Apparat presentation. (International sales: Easternlight Films, Hong Kong.) Produced by Nandita Solomon. Executive producers, Dain Said, Nandita Solomon. Co-producer, Tim Kwok. Director, writer, Dain Said.
With: Faizal Hussein, Zahril Adzim, Pekin Ibrahim, Bront Palarae, Namron, Wan Hanafisu, Amerul Affendi, Hushairy Hussin.
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 is telling a tale rich in literary allusion, but it's also one aided by its contemporary references: While brothers Adil and Ilham are men of action, violence and basic principles, the loathsome Bakar, the educated one, constantly has a cell phone 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."
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