Heart is a 2006 Indonesian film directed by Hanny R Saputra and starring Nirina Zubir, Irwansyah and Acha Septriasa. The film's soundtrack features the popular duet 'My Heart' between Irwansyah and Acha Septriasa, which won Best Song at the MTV Indonesia Movie Awards. Download film keys to heart. Download Film Korea subtitle indonesia Nonton Streaming Drama Korea Gratis. Disclaimer: This site does not store any files on its server.
If there's one word used to describe Asian cinema, it's usually 'extreme'. From South Korea we've had the hammer-wielding antics of Oldboy, whose star ate a live baby octopus, while from Japan we've had Takashi Miike's Ichi The Killer, in which a severed face hits a wall and slides down it – in one of the film's lighter moments. From Hong Kong comes pretty much anything with Jackie Chan in it, a martial artist who proudly boasts of having broken every bone in his 5ft 8' body. And now from Indonesia comes The Raid, an action extravaganza teeming with machete-twirling, gravity-defying psychos who slice, smash and crush anything that dares cross their path.
Set in the slums of Jakarta, The Raid stars Iko Uwais as Rama, a rookie cop who finds himself drafted in to take part in a police raid on a derelict housing block that is being used as a HQ by local drug baron Tama (Ray Sahetapy). Tama gives scumbags and lowlifes cheap rent in return for protection, and the place has become a no-go area as a result. It seems like a simple enough plan – get in, take out Rama and close down his operation – but the SWAT team soon find that Tama's men are ready for them, and, with no back-up in sight, a bloodbath is imminent.
The ensuing carnage is non-stop, super-violent, and impressively balletic. But this isn't the product of some warped oriental imagination; the director of The Raid hails from a mining town in Mid Glamorgan, and until only a few years ago lived in Swansea, where he held down a desk job. 'It sounds weird now,' he laughs, 'but I was doing web videos to teach people the Welsh language.'
Now in his early 30s, Gareth Huw Evans has been an action movie fan since he was far too young, legally, to be one, and recalls with embarrassment how his fascination with Asian cinema started.
'When I was a kid,' he grins, 'the first Bruce Lee film I ever saw was Enter The Dragon, and after that I was hooked. I really wanted to see more, but I was only five or six years old. I was way too young, and my mum really didn't want me watching them We had an Asda catalogue in the house, and there was an advert for the videotape of Bruce Lee's The Big Boss. And it was 18-rated. So I got an orange felt-tip pen and tried to write 'PG' on top of it. Like, 'Oh, look, mum, it's clearly PG.' But my forging skills weren't quite as sharp as they should have been, sadly. Eventually, I got the tape – and it really was way too violent. She was really angry at my dad for getting it for me.'
Though he made his feature-directing debut in 2006, with the never-seen 'social-realist' snuff-movie drama Footsteps, Evans admits that the augurs weren't strong for a career in Hollywood. 'I stayed very localised,' he says, which his wife Maya noticed with some alarm. 'She could see I'd drifted back into my nine-to-five office job. We were happy in Swansea – weekends were great –but Monday to Friday was the sticking point.'
So when Maya suggested a move to Jakarta things took a different course. 'She had a few contacts, and one was a producer who was working on a documentary series. Each one was about a different element of Indonesian culture. And she was looking for a director to do one on silat, the martial art.' It was, he says, six months of getting paid to live out in Indonesia, finding out what it was like to work there. 'So when we came back to the UK, it was to pack up and leave. My wife's family were in Jakarta, so the move was a no-brainer. It wasn't just a Welsh guy going off to try his luck.'
Although the focus of the doc was on the grandmasters who were teaching silat, Evans's eye was drawn to one of the students, the very young-looking Iko Uwais, then 24, a former footballer and silat fighter since 1993. 'My wife was my production manager on the documentary, so I kept elbowing her, saying, 'We've got to use him for something.'
Uwais, at the time working as a driver for the phone company, thought Evans was insane. 'I didn't really believe him,' he admits. 'I thought, 'Maybe I can help with the choreography.' I didn't think I could be the leading actor!'
Their first collaboration was Merantau (2009), a more traditional martial arts odyssey, much in the style of the 70s TV series Kung Fu. Evans snapped up everyone involved, creating his own production team and acting ensemble. Did he ever feel that he'd lucked out? He pauses. 'When people ask me that,' he says, 'I take a step back and I think, 'Yeah, it is weird.' But everything has been a progression, and because it's all been in real time, none of it has felt strange.' Even so, he admits it was never his goal: 'I'd never even contemplated making martial arts films.'
Very soon, Evans went native – with surprising nonchalance. 'I was like, 'Oh, I've watched a few martial arts films, I know how they work.' So I'd just go back and re-watch a bunch of the key films – the classics, like Drunken Master, some old Bruce Lee films, anything with Jackie Chan – looking at the cinematography, the choreography and the editing to figure out a way to riff on it, while at the same time trying to create our own feeling and style.'
The latter came directly from silat, a dirty, anything-goes fighting style which he describes as 'sneaky'. Even so, Evans accepts now that his first film pulled its punches.
'A lot of the criticisms levelled at Merantau were, 'Oh, it's too soft,' he says. 'A lot of the fanboys turned against us. They said, 'Aw, fuck Iko – he'd have his arse kicked. He's got no power, no speed.' So the The Raid was almost a response to that. It was like, 'We've got to raise our game.'
Luckily, Evans's team was prepared, literally, to take the hit. 'All the fighters and stunt guys know there's going to be a certain degree of contact,' he says. 'We try to make it so there's absolutely no contact when it comes to face or head hits. But body hits? They're almost always real. We give them padding wherever possible, but, yeah, they do take the odd scrape.'
Indeed, there's one scene in particular in The Raid that really seems to get under people's skin. It involves a falling man landing face-up on a banister.
'The back-snap?' grins Evans, before revealing that the scene is a composite of three separate takes, seamlessly stitched together. 'It looks much nastier than it is,' he reveals. 'But he did get injured really badly. The first take we did, the guys controlling the wires pulled him too hard, so when he jumped, instead of coming down at a nice angle he went straight across and smashed the back of his head against the wall. The wire went free, and when he fell, he missed all the crash-mats, landing five metres down on to concrete. He was unconscious for 10 minutes. We sent him to hospital, and four days later he was back on set. This time, he did it perfectly. But there are moments when even the most simple stunt can go wrong. So sometimes, yeah, shit goes bad.'
For the time being, Evans is still riding the film's wave of critical approval, which began at the Toronto film festival and carried on through Sundance and South By Southwest. He knows, though, that he's going to have to get back in the saddle soon, having signed Uwais for a second Raid film with the working title Barandal, the Indonesian word for 'thug'.
'As I said to Iko, 'Look, we've got to rely on our gut instincts.' We can't expect people to respond the same way again,' he says. 'Fingers crossed that they do. If they don't, it's not end of the world. But hopefully they'll go along for the ride again.'
That ride, however, may require strong stomachs. 'The Raid is a violent movie, without a doubt,' he chuckles. 'I'm not going to say it isn't. But I feel there's a difference between showing something violent and then cutting away from it and showing something violent and then lingering on it. With the exception of maybe two or three moments in the film we don't tend to linger. We hit you hard, like a gut punch, and we make you react, but then we take you somewhere else.
'We're not gonna revel in it.' He laughs: 'Well, a little bit maybe. But not too much.'
FIVE FILMS THAT MADE THE RAID
The Big Boss, (Lo Wei, 1971)
The idea of a young innocent fighting drug-running gangsters is a staple in Asian cinema, notably in this Bruce Lee vehicle, in which 'a country boy goes to Thailand and gets mixed up with nefarious characters'. Says Evans: 'What I hoped to bring to it was a greater emotional connection to the characters.'
Drunken Master, (Yuen Woo-Ping, 1978)
The film that made Jackie Chan a star is famed for showcasing different types of kung fu: the titular 'drunken' style, as well as the Snake, Crane, and Tiger styles. Evans saw The Raid as a similar platform for silat: 'I'd seen karate, kung fu and muay thai, but I'd never seen anything like silat. They might be fighting eye-to-eye but in a heartbeat they'll come down low and take your legs from you!'
Assault On Precinct 13, (John Carpenter, 1976)
![My heart indonesian full movie My heart indonesian full movie](/uploads/1/2/5/8/125822757/969155866.jpg)
Describing The Raid as a 'survival horror movie', Evans looked to Carpenter's low-budget cult thriller for inspiration. Says Evans: 'Assault On Precinct 13 gave me the idea of making people feel this building was super-dangerous and filled with swarms of bad guys – without actually showing 'em! We hear people, we hear crowds, but it's just my sound guys screaming into a microphone.'
Die Hard, (John Mctiernan, 1988)
This Bruce Willis classic, in which he plays an off-duty cop fighting terrorists in a high-rise office, gave Evans the idea for The Raid's location. 'The genesis of the film seemed to start in the action genre,' he recalls. 'Once I figured out that central device, the apartment building, it became clear that the heart of the film lay in the fear of being stalked, chased and attacked from all sides.'
Born Free, (Romain Gavras, 2010)
Originally, The Raid was to be the story of an escaped con – until Evans saw this MIA video. 'It had a swarm of SWAT team guys going into a building and grabbing all the ginger-headed people,' he says. 'I was struck by the fluidity of the camera and the SWAT team presence, and it wound up informing me.'
The Raid is out on 18 May