Download 3 Dara 720p Film
Brie Hoffler
Dara is a 2007 Indonesian slasher short film written and directed by Kimo Stamboel and Timo Tjahjanto as The Mo Brothers. The film gave Stamboel and Tjahjanto the necessary exposure to direct their first feature film Macabre which is based on and features the principal cast and characters of Dara.[1]
The film begins at restaurant which is owned by a beautiful and perfect woman named Dara. That night, Dara invites a man named Adjie to dine with her on the next night in her house. Then, after black fades, Adjie is shown again, bounded by chains in a blood-splattered room. He tries to break free, but Dara, comes to the room and test the quality of Adjie, as her test, she bites Adjie's stomach. Attempting to kill Adjie, Dara starts to slash him off with her chainsaw. Suddenly, a bell rings and, Dara, with her chainsaw broken, leaves the room and opens the door.
It was a bald-headed man named Eko, wanting to meet Dara. Eko is welcomed to the dinner table to eat, while Dara leaves him for a second, goes to a room and dumps Eko's flower bouquet onto a bed in there. She crosses Eko's name in the next day's date, and writes Adjie's name on the current date. From this activity, we know that Dara is a cannibal who invites men secretly and kills them when they are in her house. And Dara schedules her victims each night, for one reason: to have fresh meat every day. And the men who come to her house now, will be slashed like Dara's past victims.
At dinner, after Dara shuts Adjie's mouth and turns on classical music loudly, Dara is visited by a quiet, fat man named Rama who joins Dara and Eko for dinner. The conversation in there is dominated by Eko who tells Rama about exercising for a six pack. While they are at the dinner table, Adjie manages to break the chain and set himself free from the room. Realizing that Adjie is loose, Dara takes her crossbow (placed secretly under the dinner table) and shoots Eko's chest, then slits his throat with a machete. Then, she slashes Rama's shoulder and when Rama crawls to the front door, he is decapitated by Dara with the same machete as a slash on his shoulder.
Adjie returns to the gory room and hides there from Dara. Dara, who finds Adjie, gets stabbed in the hand by Adjie. Then Adjie quickly runs to front door, opens it, and goes into his car. When he wants to close his car door, Dara with her chainsaw turned on breaks it and slaughters Adjie with it, leaving no survivor that night.
The scene changes to Dara's restaurant, where she takes some meat from her refrigerator, and it is revealed that the meat used for her meals, are human meat. Then the camera pans through the restaurant as everybody looks appreciatively at the food cooked by Dara herself. Dara who still won over the men' fights yet, smiles and makes a grimace to camera.
A feature film adaptation of Dara was released in 2009 titled Macabre (also known as Rumah Dara) with both Tjahjanto and Stamboel directing as The Mo Brothers. The film stars Shareefa Daanish as the titular character as well as the rest of the short film's cast with character adjustment and features several new performers, including Julie Estelle, Sigi Wimala, Arifin Putra, and Imelda Therinne.
DO: We wanted to shine a light on certain overlooked and under-seen stories of Black heroism from various angles, and present other works that are already well-known from this particular lens. With this series, we are drawing a through line within varying depictions, yet connected stories of heroism, on screen and in the real lives of these women. The 1907 short film Laughing Gas by Edwin S. Porter, starring Bertha Regustus, was a rare departure from the common racist stereotyping of early American cinema. For the last 15 or so seconds of the film, the camera stays focused on her face as she laughs hysterically. There is a certain fearlessness and bold expression in that moment of laughter that for me exemplifies heroism.
Dara Ojugbele (DO): My background is in the visual arts, with a primary focus on painting and drawing. Around 2013, after graduating college, a growing interest in film, and more specifically African cinema which I had seen very little of by that point, led me to the African Film Festival, Inc. (AFF), a nonprofit organization that produces year-round community and education programs, and the annual New York African Film Festival. I have been working with AFF, under the mentorship of its founder and director, Mahen Bonetti for a few years now and am currently program manager there. It\u2019s All in Me: Black Heroines is the first film series I have co-organized outside of my work with AFF.
Steve Macfarlane (SM): Personally, my aim is to excavate movies and moving image works that have fallen off the radar and live outside the concentric, celebrity, director or franchise-obsessed conversations making up 98% of mainstream film culture today. Some of this happens at the all-volunteer microcinema Spectacle, in Brooklyn; that\u2019s a space for challenging the accepted cinephile canon. I\u2019ve also programmed at Anthology Film Archives, Lightbox Film Center in Philadelphia and the National Museum of African-American History and Culture in Washington, D.C., among others.
You two worked together with Marta Zeamanuel (MoMA Film Department) to put together It\u2019s All in Me: Black Heroines, running from February 20\u2013March 5 in the museum\u2019s cinema. How did this idea emerge? Which came first: the theme, title or a selection of the films?
DO: This program is part of a larger project of series that showcase films in MoMA\u2019s collection. The series started as an exploration of films that portray stories of Black resistance. We then decided to narrow it down and focus on Black women\u2019s unique experiences with representation, on and watching film. The series became an opportunity to call attention to the problem of misrepresentation and underrepresentation of Black women in cinema and other media, and showcase films that defy and provide alternatives to perpetual and harmful stereotypes about Black women that have dominated the conversation in the past. Each film in the series, in its own way, provides a more authentic connection to Black women\u2019s expression, stories and experiences.
SM: It\u2019s no secret that February is Black History Month and March is Women\u2019s History Month [in the United States \u2013Ed.], but I appreciate the idea of a film series coinciding with either without feeling like a rote obligation. (Obviously every month should be Black Women\u2019s History Month.) Marta set the title early on, and it was great having it as a barometer in subsequent programming discussions. We wanted to reject the kind of racist stereotypes mentioned by Dara, but also insidious forms of artistic discrimination performed against Black women, particularly within the studio system. This erasure and the search for alternatives are explicitly engaged in Julie Dash\u2019s Illusions (1982) and Cheryl Dunye\u2019s The Watermelon Woman (1996), which is the opening night double bill.
The series is comprised of 40 films, both shorts and features, from MoMA\u2019s film collection. What was the research process like in terms of working within the collection, and how did limiting the focus to the museum\u2019s collection end up informing the selections you made?
SM: In the case of Black heroines, the challenge to pull exclusively from the permanent collection was irresistible. Sometimes there\u2019s a single work featuring a performer, or by an artist, who went on to have a more varied career outside cinema. With the shorts programs, I especially wanted to include \u201CBlack heroines\u201D on the other side of the camera: honoring pioneers like Alile Sharon Larkin and Zeinabu Davis, but also straddling performance art and video installation.
I\u2019m a big fan of poet and journalist Thulani Davis, who made Why Howard Beach? with Paper Tiger Television in 1987, and also wrote the screenplay for the \u201Chood classic\u201D Paid in Full (2002)\u2014so we looked her up in MoMA\u2019s database. We found a short piece called Thulani, from the archives of the video artist Doris Chase: she had filmed Thulani giving a live poetry performance, but Thulani herself had never seen the edit in MoMA\u2019s collection. Then it turned out Thulani had an alternate cut which had never made it to the Museum, so we\u2019re showing both, and talking about the differences. Mar\u00EDa Magdalena Campos-Pons\u2019 Ba\u00F1o Sagrado (1991) will be screening as well, plus Ngozi Onwurah\u2019s The Body Beautiful (1991), and all three of those artists will be in conversation. To me that\u2019s a testament to the richness of the series concept.
DO: We went in with knowledge of certain titles in MoMA\u2019s collection and then searched through the film database for any others we could find featuring Black women, that spoke to the theme. We then reviewed the films we found and selected the ones which displayed examples of heroism in their own refreshing and unique ways. The 1987 documentary, On Becoming a Woman: Mothers and Daughters Talking Together by Cheryl Chisolm, for instance, is a fun and heartfelt look at mothers and daughters discussing sex and development openly and candidly. It shows these women diving into necessary conversations surrounding self-care despite how uncomfortable it can be, and getting it all on camera to be available as a resource for other women.
Could you speak to the range of the work shown in the series? The films were made across a wide expanse of time (1907\u20132018) and cover lots of different territory in terms of genre, resources, visibility and so on. Do some types of films in the series speak more naturally to the themes you\u2019re exploring than others?
7fc3f7cf58