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A few years ago, I had the rare opportunity to travel halfway around the world to Malaysia—a fascinating country that melds a number of cultures, languages, and religions into an unforgettable blend. While I was there, I split my time between the bustling metropolis of Kuala Lumpur and a relaxing ocean-front resort—but, between the two, I spent some time traveling through the country’s dense jungles and small villages—the memories of which were reignited by director Dain Said’s drama, Return to Murder (or, as it was known during the Toronto Film Festival, Bunohan).
After his friends help him escape from a death match in Thailand, talented young kick-boxer Adil (Zahiril Adzim) finds himself on the run from Ilham (Faizal Hussein), the hitman who’s hired to finish him off—who also happens to be his older step-brother. Ilham follows his target back to Bunohan (which means “murder” in Malay), their home town.
Meanwhile, their other brother, Bakar (Pekin Ibrahim), has moved back from Kuala Lumpur, claiming that he wants to care for their ailing father, Pok Eng (Wan Hanafi Su), an aging shadow puppet master. But Bakar’s intentions aren’t exactly honorable—and as the three brothers return to Bunohan, they get caught up in a web of bitterness, greed, and long-held secrets.
Written and directed by Dain Said, whose controversial first feature never made it past Malaysia’s strict censors, Bunohan paints a fascinating portrait of the country’s cultural mix. Of course, if you’ve never been to Malaysia, you might miss some of these small but significant cultural details, but anyone who’s had the opportunity to visit the country—to experience its cultural diversity—will appreciate the unique blend of East and West, of modern and traditional, that Said captures so perfectly. It comes across in the characters’ beliefs, in their traditions, in their music, and even in the things they wear (like Bakar’s preppy polos, which make him stand out in Bunohan’s rustic café).
Said carries the same diversities and complexities into the film’s family dynamics. Pok Eng and his three sons are all very different men, with passions, dreams, and beliefs that obviously clash. Their relationships are definitely complicated, which is the key to the family’s conflicts. At the same time, though, the thorny relationships also tend to make the characters and their story rather difficult to follow.
Bunohan isn’t a simple film. It’s a deep, dark drama, stacking complicated family dynamics on top of complicated cultural dynamics. As such, you’ll need to let it simmer in your subconscious for a while—and, even then, you probably won’t be able to make sense of it all. But it makes for an intriguing cinematic journey to a place where the cameras rarely go.
Ed. Note: Kristin screened Return to Murder at the 2011 Toronto International Film Festival. Be sure to check your local listings to find out if/when it’s coming to a theater near you.
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