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.
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Adriana TunkuDirector
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Razlan ShahExecutive Producer
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Muqri Danish MokhtarExecutive Producer
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Amran RahmatWriter
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Farah FadzilProducer
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Diana DanielleProducer
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Bront PalaraeKey Cast"Angah"Satan's Slaves: Communion (2022); Stone Turtle (2021); Edge of the World (2021); Satan's Slaves (2017)
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Dynas MokhtarKey Cast"Ku Long/Kak Long"KL Gangster; KL Gangster: Underworld
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Fahad ImanKey Cast"Alang"
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Diana DanielleKey Cast"Bongsu/Su"Imaginur (2022);
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Patricio SuarezKey Cast"Hubby"
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Rashidah JaafarKey Cast"Kak Ji"
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Ruminah SidekKey Cast"Mother"
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Meng Kheng TanKey Cast"Doctor"
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Matthew ChowDOP
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Al Adam1st Asst. Director
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Aliya Marissa2nd Asst. Director
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Sofea LeiyanaScript Supervisor
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Hoya1st AC
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Fauzan Hak2nd AC
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Jia Wei NgGaffer
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Khee Yuan LeoBest Boy
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Sai Hoi LowBest Boy
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Timothy John RajahBest Boy
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DeanniStyling
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DeannaStyling
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Shafiqah RafiStyling
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Nisha MatrusMake Up & Hair
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Fynas DaudMake Up & Hair
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Tiara RazlanMake Up & Hair
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Danial YapArt Director
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FaizkehusseinSet Decorator
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Ammar JamilSet Dresser
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Amir Mohd NorProp Master
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Adzmi ZawawiProp Assistant
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Azim IsaProp Assistant
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Jude VitaliseSound Recordists
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Walter SerSound Recordists
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Adriana TunkuEditor
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Matthew ChowColorist
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Yasmin SuleimanVFX Producer
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Jordan SuleimanVFX Supervisor
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Belle AzizVFX Coordinator
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David KnightonTechnical Coordinator
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GIbran Nor AzzamAssistant Coordinator
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Jordan SuleimanLead Compositor
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Zubaida NilaCompositors
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Farriz HuzaimyCompositors
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Zaim Zulkarnain2D Artists
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Ashrel Hafizi2D Artists
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Amir Hamzah3D Artists
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Firdaus Zainol3D Artists
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Azmi AzmanAnimator
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Razlan ShahMusic Director
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Joseph ChuaMusic Director
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Joseph ChuaComposers
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Li-Anne KongComposers
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Soraya TaibMusic Producer
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Onn Jian LimSound Supervisor
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Faiz RosliSupervising Sound Editor
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Faiz RosliRe-recording Mixers
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Khairul RidhwanRe-recording Mixers
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Calvin HoSound Effects Supervisor
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Faiz RosliSound Effects Supervisor
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Jordan YipFoley Artist/Foley Editor
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Onn Jian LimMusic Supervisor
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Arman ShahmieyGraphic Designer
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Rais IsmailProduction Manager
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BalingProduction Assistant
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Zaaim HarizPhotographer
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Project Type:Short
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Genres:Drama, Horror
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Runtime:19 minutes 39 seconds
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Completion Date:February 5, 2024
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Production Budget:14,000 USD
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Country of Origin:Malaysia
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Country of Filming:Malaysia
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Language:English, Malay
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Shooting Format:Digital
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Aspect Ratio:2.39:1
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Film Color:Color
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First-time Filmmaker:Yes
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Student Project:No
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.
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?