INTERCHANGE - DAIN ISKANDAR SAID MOVIE (1/12/2016)

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Interchange (2016)



Starring : Shaheizy Sam, Nicholas Saputra, Prisia Nasution, Nadiya Nissa, Alvin Wong and Iedil Putra

Genre : Supernatural noir fantasy

Directed By : Dain Iskandar Said

Release Date : 2016

Lorra2411

Sinopsis

Adam (Iedil Putra), seorang jurufoto forensik yang kerjayanya setiap hari adalah melihat tubuh-tubuh yang dikerat menerusi lensa kameranya.Dia menyertai rakan setugasnya, Detektif Man (Shaheizy Sam) yang sedang melakukan siasatan terhadap beberapa siri pembunuhan mengerikan yang berlaku di Kuala Lumpur.

Sewaktu sedang menyiasat satu kes pembunuhan mengerikan, Adam berkenalan dengan seorang perempuan misteri, Iva (Prisia Nasution) yang merupakan jiran barunya.Melalui persahabatannya dengan Iva, Adam mula mendapatkan kehidupannya semula dan mereka jatuh cinta.Iva mendedahkan yang dirinya merupakan seorang bomoh berasal dari Borneo yang sedang mencari jati diri suku kaumnya yang telah terperangkap dalam kaca negatif selama 100 tahun.Dirinya ditemani oleh seekor semangat haiwan, Belian (Nicholas Saputra).

Sedekad yang lalu, seorang etnografi dari Eropah telah mengambil gambar suku kaumnya sehingga telah memerangkap jiwa mereka ke dalam plat kaca negatif.Sejak hari itu, Iva telah mengembara ke seluruh Asia untuk berusaha mengembalikan jiwanya supaya dia boleh mati dengan tenang. Belian, semangat suku kaumnya merupa bentuk sebagai manusia untuk memastikan dia tidak menyeleweng daripada tugasnya.Adam mahu membantu Iva mencapai usahanya untuk mati dengan tenang.Untuk berbuat demikian, Adam perlu melangkah ke dalam dunia Iva yang penuh dengan pembunuhan, keghairahan dan ilmu hitam. [4]

Pengarah	Dain Said
Penerbit	Nandita Solomon Michael Lake
Pengarang	Dain Said[1]
Lakon layar	Dain Said June Tan Nandita Solomon Redza Minhat
Lakonan	Iedil Putra Shaheizy Sam Nicholas Saputra Prisia Nasution Nadiya Nisaa Alvin Wong Chew Kin Wah Junad M.Nor.
Sinematografi	Jordan Chiam
Penyuntingan	Herman K. Panca
Syarikat produksi	Apparat
Pengedar	Sonneratia Capital Seeing Eye Films MDEC
Mula ditayang	2016
Negara	Malaysia
Bahasa	Bahasa Melayu
Perbelanjaan	RM 3.1 Juta

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adi143

Macam best je citer ni

dauswq

@dino ape jadi filem dain said psl surau roboh tu?

dauswq

Paris-based film distributor picks up Dain Said’s ‘Interchange’                                                                                                               
                                                                        

Friday May 13, 2016                                                                                                                              

Prisia Nasution and Iedil Putra star in ‘Interchange’. — Handout via CinemaOnline




KUALA LUMPUR, May 13 — Dain Said’s third feature-length movie, Interchange, has been picked up by Paris-based distribution company, Reel Suspects.
        The company now has the international rights to the movie while in North America its sales will be represented by XYZ Films.

        “It’s rare to find good thrillers from Malaysia, especially one that masters sci-fi elements with supernatural and noir,” said Reel Suspects CEO Matteo Lovadina, according to Screen Daily.

        “We hope buyers will appreciate the astonishing cinematography that really puts a stamp on Dain’s established directorial vision.”
        The movie is set to be a follow-up to Dan Said’s second movie, Bunohan — released in Malaysia in 2012 but made its world premiere at Toronto International Film Festival 2011 — his more successful multiple award-winning movie, as opposed to his 2007 directorial debut Dukun, a horror movie that never officially received a release date in Malaysia.

        Interchange is Malaysian independent film production company Apparat’s first co-production with Indonesia.

        It tells of a man named Adam (Iedil Putra), a forensics photographer who is dragged by his best friend, Detective Man (Shaheizy Sam), into an investigation of a series of macabre ritual murders in the city. Adam soon befriends Iva (Prisia Nasution), a woman on a mission to rescue the souls of the people in her tribe that have been trapped inside a glass plate negative. The tribe’s spirit, Belian (Nicholas Saputra), takes on the form of a human in order to help Iva.
        Interchange is slated for release in Malaysia sometime this year.

- See more at: http://www.themalaymailonline.co ... thash.AHahUGgM.dpuf

otai_g

film dain said x penah mengecewakan.

masih ingt dgn bunohan?

dauswq

                History Redefined: How These New Films Let Us See the Past In New Ways                Films often struggle to represent the past in believable ways. But three new films have found innovative approaches.

Kelley Dong                                                                                             
Aug 19, 2016 9:55 pm                                                
        
               
                        
        

“By the Time It Gets Dark


                                This article was produced as part of the Locarno Critics Academy, a workshop for aspiring journalists at the Locarno Film Festival, a collaboration between the Locarno Film Festival, IndieWire and the Film Society of Lincoln Center with the support of Film Comment and the Swiss Alliance of Film Journalists.

Since its invention, cinema has been used to examine the past. However, few films centered on historical narratives move past dissecting events and into questioning how such events are portrayed and disseminated. But filmmakers continue to innovate with the form and find new ways to push beyond its limitations. Three films screening at the 69th Locarno International Film Festival — Dain Iskandar Said’s “Interchange,” Douglas Gordon’s “I Had Nowhere to Go,” and Anocha Suwichakornpong’s “By the Time It Gets Dark” — challenge the construction of history and provide alternate ways to experience history beyond the hegemonic image.

The follow-up to his magical realist action-drama “Bunohan,” “Interchange” examines the tension between Malaysia’s past and present through a series of ritualistic murders, each involving a glass negative of a centuries-old Borneo tribe member that eerily resembles each victim. Inspired by the belief that photographs steal the soul, the film focuses on Detektif Man and forensics photographer Adam as they search for the glass negatives scattered across the city. The images in question, along with their simple captions and academic presentation, immortalize only a specific interpretation of Malaysia’s past, as framed by a European ethnographer. And for their subjects, the consequences are supernatural: the negatives have trapped the souls of a Borneo tribe for centuries, immortalizing them so long as the photos — and the bodies — exist. As a horror film, “Interchange” posits the image, and its lasting control over its subjects, as something to be feared.

Filled with intentional clichés, the film establishes a binary of good and evil, represented by the modern-day city and the jungle surrounding it, and its characters: there’s the sarcastic cop, Detektif Man, the angst-ridden photographer Adam, the femme fatale Iva and the ominous creature Belian. But soon enough, the film reveals that things are not what they seem. When Adam discovers that Iva is a Borneo shaman, who is killing her tribe members to free them, he realizes, along with the audience, that she and her people are, in fact, the victims.

This shift in narrative pushes the film’s argument that the individual must question, unlearn, and relearn history, as Adam quickly changes sides to help her. In its choice to use the visceral, emotional experience of watching a horror film that engages audiences to be a part of the “solving” process, “Interchange” demonstrates that understanding history is, in fact, a visceral, emotional process, that requires much more than an image.

While “Interchange” transforms genre conventions into a lens to examine history, Douglas Gordon’s “I Had Nowhere to Go” abandons representation altogether. Using layered soundscapes, color blocks, and brief still images, the film stimulates — rather than explains — the displacement of its subject, avant-garde filmmaker Jonas Mekas. It follows Mekas from Lithuania to a forced labor camp, then a displaced persons camp, and eventually to Brooklyn, New York after World War II. But as he says, “neither the feeling or the image can be described to one who hasn’t gone through this.” Disregarding the obligation to teach, explain, or even justify the events of Mekas’s life and of his country, Gordon engages viewers with the task of trusting Mekas’s history without the often one-sided and limited images of war and displacement.

“I Had Nowhere to Go”

Unlike other biopic-documentaries, in which the subject is explained from an outside position, “I Had Nowhere to Go” invites the viewer to live, think, and feel as Mekas himself, targeting the senses rather than the mind. Additionally, the film also acts as a simulation of displacement. Much of the film solely consists of Mekas’s booming voice accompanied by a black screen, leaving the task of constructing history to the viewer, who must imagine the moment — from Mekas’s first American job to the New York city lights — on his or her own. Mirroring the human mind, which remembers moments at random with little discretion, the film’s sequence of events is chronologically scattered. Whether the events ever occurred at all is also a mystery, as the audience is told by Mekas that they’re welcome to read the film as “pure fiction.” Yet in doing so, the film affirms that the subjective experience, whether fiction or not, is an equally valid narrative alongside objective fact.

A simultaneous critique, celebration, and examination of the blurring line between cinema and reality, Anocha Suwichakornpong’s latest film, “By the Time It Gets Dark,” leaves its audience questioning whether the story before them is real life or a film, or a film-within-a-film, or a film-within-a-film-within-a-film. Hovering over the story is the 1976 Thammasat University massacre, a national tragedy that set the stage for greater Thai military government control. However, Suwichakornpong chooses to focus on characters whose relationship to the massacre is left unclear, and stories that continue to recreate themselves, a greater metaphor for the many ways in which communal memories are continually reinterpreted and remembered. As a film about history that never directly refers back to its history, only pointing from the periphery, “By the Time It Gets Dark” deconstructs the perception of history as something limited to the past, with no weight in the present and future.

Throughout the film, Suwichakornpong complicates time and space with ease. Scenes move from one character to another with little desire to justify their relation to one another, connecting a wide range of characters, including a former rebel leader, a university student, filmmaker, a Thai pop star, and a young woman in search of a job. The film invites its audience to connect these narratives on its own, only tying pieces together with fragmented clues, such as a scene that begins from a tobacco factory, where one character works, and ends with a shot of another character’s cigarette hanging out the window. The fluid, dream-like nature of “By The Time It Gets Dark” presents history as a nonlinear, cyclical force, rather than a linear sequence, underscoring its effort to discuss a dark moment in Thailand’s history, that, as Suwichakornpong explains in the film’s Locarno press conference, is rarely mentioned by the government — though its influence on the people is certainly felt.

What differentiates these three films from others about or concerned with history? The answer lies in their self-awareness. Unlike films that present history without questioning, this trio recognize the artificiality of the image — of photography, of documentary, of cinema. And in their willingness to confront this truth, their own depictions of history take the side of the people, with whom each film willingly engages with, not as an ignorant person to teach or manipulate with propaganda, but as an equal experiencer of real life.

dauswq

filem ni masuk bertanding dlm locarno festival & Toronto festival
kptsn akn diumumkan pd sept nnt
http://www.tiff.net/?filter=festival.public

tp tak nmpk masuk dlm venice festival..sayang, silap2 ade actor/actress leh menang acting...

HangPC2

baru tahu Prisia Nasution dan Iedil Putra baru nikah

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Local movie Interchange heads to Toronto International Film Fest



By ANGELIN YEOH




Representing Interchange (from left) Nicholas Saputra, Shaheizy Sam, director Dain Said, Prisitia Nasution, Iedil Putra and producer Nandita Solomon at the Locarno Film Festival in Switzerland. Photo : Festival del film Locarno / Massimo Pedrazzini

Interchange makes another international stop. After its world premiere at the Locarno Film Festival in Switzerland on Aug 5, the film, directed by Dain Iskandar Said, will travel to Canada for the Toronto International Film Festival.

The event which runs from Sep 8-18 marks Interchange’s North American premiere. Screen Daily reported that film will be featured in the Vanguard section alongside Spanish-Canadian monster movie Collosal which stars Anne Hathaway and Chung Mong Hong’s Taiwanese crime drama Godspeed.

Actor Shaheizy Sam who plays Detective Man in Interchange was at the Locarno Film Festival with co-stars Iedil Putra, Prisitia Nasution, Nicholas Saputra and director Dain.

Shaheizy shared his excitement on Interchange’s international reception in a Facebook post on Aug 5: “I feel very grateful to be standing here in front of thousands of viewers who supported our local film.



Shaheizy at the Interchange premiere in Locarno International Film Festival in Switzerland. Photo: EPA


“Despite not understanding our language, they still wanted to know about us through the film. Be proud of what we have. Even though we’re small, we can still achieve results if we believe in ourselves. Nothing is impossible in life. Just keep going!”

He included hashtags #SayaSokongOrangSaya and #InterchangeFilm in the post. Variety also reported that Interchange is one of three films which led sales figure in Locarno Film Festival. The film is a supernatural drama about a series of gruesome ritualistic murder occuring in the city. Detective Man is tasked with solving the case and he seeks the help of Adam, a forensics photographer (Iedil) who is haunted by what he saw at one of the crime scenes.


Sources : http://www.star2.com

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Sam Terperangkap Tujuh Jam Dalam Pesawat, Hilang Bagasi




By Elrafaei Sapi





Sam tampil berbaju Melayu ketika hadir pada tayangan filem Interchange di Festival Filem Locarno ke-69, Switzerland, baru-baru ini.



Ia pastinya mengujakan dan menjadi pengalaman paling manis dikenang dalam hidup seorang pelakon apabila berpeluang menyaksikan sendiri filemnya menyertai festival filem bertaraf antarabangsa di luar negara.

Pengalaman ini dikongsi pelakon popular, Shaheizy Sam yang turut hadir bersama pengarah, Dain Said dan pelakon lain antaranya, Iedil Putra dan Nicholas Saputra ketika menyertai Festival Filem Locarno ke-69, Switzerland, baru-baru ini.

Menerusi penyertaan filem Interchange yang dipilih untuk tayangan acara berprestij itu, Sam juga sebenarnya berdepan cabaran getir sebelum acara itu berlangsung.

Dain berkongsi cerita Sam di Facebooknya malam tadi, menyatakan Sam ketika itu kehilangan bagasi di Lapangan Terbang Locarno selepas terperangkap selama tujuh jam dalam pesawat akibat insiden pesawat lain terbakar ketika mendarat cemas di Lapangan Terbang Antarabangsa Dubai.

Sam yang menunggu bagasinya untuk beberapa hari terpaksa membeli pakaian baru di sana dan kemudian mendapat semula bagasi kira-kira dua jam sebelum acara bermula. Apa yang lebih menarik, Sam tampil segak berbaju Melayu hitam bersama songkok dan samping ketika berjalan di karpet merah sehingga tayangan dan sidang media filem itu di sana.




Di sebalik pencapaian Sam dan semua kru produksi yang terbabit dalam filem ini, Dain juga menyatakan filemnya kali ini akan ditayangkan pada Festival Filem Antarabangsa Toronto, Kanada.





Sam bersama pengarah, Dain Said dan pelakon filem Interchange.




Dianggarkan 8,000 penonton hadir pada tayangan filem Interchange di Festival Filem Antarabangsa Locarno.




Filem Interchange akan ditayangkan di Malaysia bermula 1 Disember nanti.



Sources : http://www.rojakdaily.com

cicicumel

Tajuknya agak general...Interchange

HangPC2

cicicumel replied at 27-8-2016 10:14 AM
Tajuknya agak general...Interchange

itulah agak general...

nicdiandra

Tazabar 1 december , pakwe ai tak berbaju dlm ni. Oh abam rangga

gerbera.memopad

Wah, promisingnya movie ni. Pelakon pun best kecuali aku tak berapa berkenan dgn Iedil Putra. Ada something pasal lakonan dia yg tak cukup sifat kat padangan aku. But yeah, maybe Interchange gonna give me a different vibe about him. A good one I hope

nicdiandra

Dah keluar trailer baru. Tapi tak reti tepek

supernaturalee

dain gemarkan filem drama berat yg ade unsur2 mistik/supernatural

look forward for this movie

tyg kt toronto tu
pls finas hntr filem ni ke oscar


btw salute sam sbb berbaju melayu di sana

nicdiandra

http://screenanarchy.com/2016/09 ... ernatural-noir.html

nicdiandra

supernaturalee replied at 9-9-2016 11:21 AM
dain gemarkan filem drama berat yg ade unsur2 mistik/supernatural

look forward for this movie

Salute sam berbaju melayu . Nasib bagasi dia dpt balik before premiere. Kurang highlight movie ni dalam paper padahal cerita ni 8000 org tonton dkt locarno. Ada tayangan 11-13/10 dkt london.