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akar

The children of an offshoot royal family gather home for their dying mother, though not all for the same reasons. Disjointed, distant and dysfunctional, this awkward reunion uncovers the truth behind their family legacy and how difficult it will be for them to shed the emotional & spiritual baggage of their forefathers.

  • Adriana Tunku
    Director
  • Razlan Shah
    Executive Producer
  • Muqri Danish Mokhtar
    Executive Producer
  • Amran Rahmat
    Writer
  • Farah Fadzil
    Producer
  • Diana Danielle
    Producer
  • Bront Palarae
    Key Cast
    "Angah"
    Satan's Slaves: Communion (2022); Stone Turtle (2021); Edge of the World (2021); Satan's Slaves (2017)
  • Dynas Mokhtar
    Key Cast
    "Ku Long/Kak Long"
    KL Gangster; KL Gangster: Underworld
  • Fahad Iman
    Key Cast
    "Alang"
  • Diana Danielle
    Key Cast
    "Bongsu/Su"
    Imaginur (2022);
  • Patricio Suarez
    Key Cast
    "Hubby"
  • Rashidah Jaafar
    Key Cast
    "Kak Ji"
  • Ruminah Sidek
    Key Cast
    "Mother"
  • Meng Kheng Tan
    Key Cast
    "Doctor"
  • Matthew Chow
    DOP
  • Al Adam
    1st Asst. Director
  • Aliya Marissa
    2nd Asst. Director
  • Sofea Leiyana
    Script Supervisor
  • Hoya
    1st AC
  • Fauzan Hak
    2nd AC
  • Jia Wei Ng
    Gaffer
  • Khee Yuan Leo
    Best Boy
  • Sai Hoi Low
    Best Boy
  • Timothy John Rajah
    Best Boy
  • Deanni
    Styling
  • Deanna
    Styling
  • Shafiqah Rafi
    Styling
  • Nisha Matrus
    Make Up & Hair
  • Fynas Daud
    Make Up & Hair
  • Tiara Razlan
    Make Up & Hair
  • Danial Yap
    Art Director
  • Faizkehussein
    Set Decorator
  • Ammar Jamil
    Set Dresser
  • Amir Mohd Nor
    Prop Master
  • Adzmi Zawawi
    Prop Assistant
  • Azim Isa
    Prop Assistant
  • Jude Vitalise
    Sound Recordists
  • Walter Ser
    Sound Recordists
  • Adriana Tunku
    Editor
  • Matthew Chow
    Colorist
  • Yasmin Suleiman
    VFX Producer
  • Jordan Suleiman
    VFX Supervisor
  • Belle Aziz
    VFX Coordinator
  • David Knighton
    Technical Coordinator
  • GIbran Nor Azzam
    Assistant Coordinator
  • Jordan Suleiman
    Lead Compositor
  • Zubaida Nila
    Compositors
  • Farriz Huzaimy
    Compositors
  • Zaim Zulkarnain
    2D Artists
  • Ashrel Hafizi
    2D Artists
  • Amir Hamzah
    3D Artists
  • Firdaus Zainol
    3D Artists
  • Azmi Azman
    Animator
  • Razlan Shah
    Music Director
  • Joseph Chua
    Music Director
  • Joseph Chua
    Composers
  • Li-Anne Kong
    Composers
  • Soraya Taib
    Music Producer
  • Onn Jian Lim
    Sound Supervisor
  • Faiz Rosli
    Supervising Sound Editor
  • Faiz Rosli
    Re-recording Mixers
  • Khairul Ridhwan
    Re-recording Mixers
  • Calvin Ho
    Sound Effects Supervisor
  • Faiz Rosli
    Sound Effects Supervisor
  • Jordan Yip
    Foley Artist/Foley Editor
  • Onn Jian Lim
    Music Supervisor
  • Arman Shahmiey
    Graphic Designer
  • Rais Ismail
    Production Manager
  • Baling
    Production Assistant
  • Zaaim Hariz
    Photographer
  • Project Type:
    Short
  • Genres:
    Drama, Horror
  • Runtime:
    19 minutes 39 seconds
  • Completion Date:
    February 5, 2024
  • Production Budget:
    14,000 USD
  • Country of Origin:
    Malaysia
  • Country of Filming:
    Malaysia
  • Language:
    English, Malay
  • Shooting Format:
    Digital
  • Aspect Ratio:
    2.39:1
  • Film Color:
    Color
  • First-time Filmmaker:
    Yes
  • Student Project:
    No
Director Biography - Adriana Tunku

A graduate of Emerson College and having mentored under Oscar-nominated producer Sacha Ben Harroche, Adriana has directed some of Malaysia's most popular music videos and commercials amassing millions of views. Adriana has a penchant for wanting to highlight the humanity of stories in her works and seeks to find the creative bridge between the old and the new, East and West. This is Adriana's debut as a film director.

Add Director Biography
Director Statement

I would like to start by telling the story of my aunt whom I affectionately know as ‘Enda’. Enda was a beautiful woman. Bright, brilliant and with a huge heart; she was a beacon of warmth for my whole family growing up. I recall fond memories of spending Friday lunches together with Enda and my parents, having them playfully poke at one another whilst we feasted on my grandmother’s cooking. She had such an impact on me growing up - I miss her terribly. Enda passed away from cancer about 10 years ago.

Why Enda got cancer could be due to many things, but the whispers within the family of the reason for her unhappiness was deafening. It wasn’t spoken, but felt. Due to our family’s royal heritage, it was good practice (especially amongst older generations) to marry within other royal families of different Malaysian states. Enda never got a say in who her future husband would be - it was arranged. And it’s because she never had a say in it, the stress and misery of being married to someone for legacy and not for love would cause cancer to fester in her. My grandparents carried that regret until their last days.

Tradition and family is a funny thing. One would think they go hand in hand, but not all traditions should continue. I have always struggled with my heritage and how it shapes my worldview. To question tradition isn’t blasphemy - why should we continue practices that we know to be harmful? Why should we perpetuate ideas and social moores that hurt more than it binds? Like tradition, generational trauma perpetuates through the decades. The echoes of pain that your forefathers felt reverberate through their children and their children’s children. I wanted to tell a story that shows the conflict of the effects of generational trauma and traditions conserved.

The idea to include a ‘Saka’ is not for the sake of novelty either - this is common practice amongst many Malay families, even till today. This ‘being’ that you ‘employ’ for your family would be carried through generations, passed down from parent to child. Each generation would need to ‘feed’ this being and care for it as if it was employed under their care. Sure, maybe back then the idea of a Saka would have sounded like a good idea to one person, but why must we inherit it when we never asked for it to begin with? I believe the Saka to be a perfect example of the intersection between generational trauma and tradition.

The story of Akar is a human one - it is of grief and loss, intermixed with the idea of inheriting the same pains your parents carried in their misguided perception that its benefits outweigh the cost. Would you inherit your parent's riches if it meant that you would forever be stuck in the cycle of trauma and repeated mistakes of your forefathers?