| MACABRE | 
| | Synopsis :
Macabre tells the tale of a most horrifying night for 6 friends. Two newly weds Adjie and Astrid, along with 3 of their best mates decide to have an interstate road trip as a last attempt to reconcile Adjie with his estranged younger sister Ladya.
Their drive is, however, being cut abruptly when they run into Maya, a strange girl who wanders aimlessly out of nowhere into their path. “I’ve been robbed” is all she had to say. The friends unanimously decide to give her a ride to her isolated house in the deep of the woods.
Maya introduces Adjie and friends to her courteous blue-blooded mother, Dara, an ageless enigma of a woman. Dara insists that their Samaritan act should be repaid with a feast.
This is when the night turns into a crimson-hell for the 6 friends. They find themselves trapped and hunted by Dara and her three deadly protégés who were born and raised to systematically eliminate unsuspecting passerbys for one nefarious reason.
One by one they are slaughtered. Everybody will bleed. The dark of night has never looked so red.
DIRECTOR’S PROFILE : Mo BrothersThe Mo Brothers are two filmmakers, a collaborative team of Timo Tjahjanto (09/05/1980) and Kimo Stamboel (25/06/1980).
MACABRE marks their first feature film and their 3rd collaboration after the internationally acclaimed short slasher/dark-comedy DARA (2007) and their first attempt at a psychological-supernatural horror short film titled ALONE (2003).
They met in Sydney, Australia in 2002. At the time, both were finishing their education in the School of Visual Arts. While Kimo went on to co-found his production house in Jakarta Indonesia, Timo pursued a temporary career as a storyboard artist and cameraman, after furthering his studies at the New York Film Academy.
The Mo Brothers are currently based in Jakarta, Indonesia.
DARA and MACABRE mark the beginning of their foray into the conventional Asian Horror genre. Ardent fans of the American genre classics from PSYCHO to the ORIGINAL TEXAS CHAINSAW MASSACRE, the Mo Brothers’ current quest is to crash-marry the sleekness of the East-Asian Horror movement with the chutzpah of the American Horror wave.
| | | | | | < Back | | | |
|
