A documentary which challenges former Indonesian death-squad leaders to reenact their mass-killings in whichever cinematic genres they wish, including classic Hollywood crime scenarios and l... Read allA documentary which challenges former Indonesian death-squad leaders to reenact their mass-killings in whichever cinematic genres they wish, including classic Hollywood crime scenarios and lavish musical numbers.A documentary which challenges former Indonesian death-squad leaders to reenact their mass-killings in whichever cinematic genres they wish, including classic Hollywood crime scenarios and lavish musical numbers.
- Nominated for 1 Oscar
- 55 wins & 46 nominations total
- Self
- (archive footage)
- (uncredited)
Storyline
Did you know
- TriviaThe project started with a focus on the family of the victims, but many were arrested as Joshua Oppenheimer was doing the interviews with them. In that process he started meeting torturers, so he decided to refocus the story on them.
- Quotes
Anwar Congo: Did the people I tortured feel the way I do here? I can feel what the people I tortured felt. Because here my dignity has been destroyed, and then fear come, right there and then. All the terror suddenly possessed my body. It surrounded me, and possessed me.
Joshua Oppenheimer: Actually, the people you tortured felt far worse, because you knew it's only a film. They knew they were being killed.
Anwar Congo: But I can feel it, Josh. Really, I feel it. Or have I sinned. I did this to so many people, Josh. Is it all coming back to me? I really hope it won't. I don't want it to, Josh.
- Crazy creditsThe name Anonymous appears 49 times under 27 different crew positions in the credits. This was done to protect the identities of those crew members who feared retribution from the former Indonesian death squad leaders.
- Alternate versionsThe 115-minute version is generally the theatrical version. It was presented at the Telluride and Toronto Film Festivals. The 159-minute version competed at the CPH:DOX festival and won its main award. It is also the main version being released in Indonesia.
- ConnectionsEdited into P.O.V.: The Act of Killing (2014)
- SoundtracksTheme for the Act of Killing
Composer: Karsten Fundal
Published by Edition Wilhlem Hansen
Performed by Clara Bryld, Andreas Estrup, Frederik Teige, Katinka Fogh Vindelev
Technician: Lars Falck
Recording Studio: Copenhagen Studios
Kierkegaard said, "life can only be understood backward, but it must be lived forward". He means that life can only be made apparent in reflection but as you live it in the here and now it will be opaque. Conversely however, it means that if we hope to understand history in a significant way, so as to be able to recognize the forces at play in the here and now and not have to wait until later, we should try placing ourselves in it as something that was lived going forward.
So by way of history that we can understand backward we learn little here. A military coup in Indonesia resulted in the persecution and death of perhaps up to a million people - that was with Vietnam already underway the same year and driven by the same strategy of containing communism and shady American involvement. But that's another story to tell.
So how to begin to make sense in the here and now of a tragedy of unfathomable proportions? The filmmaker could have plainly presented a tapestry of facts and sought historians to explain larger swathes of context. It's not because he thinks the events will be fairly well known that he omits these, rather the whole point here is different.
The film is not a historic record that only finds its impetus in the murderers; it's an examination of delusion and ignorance now in this life. Not the fact of murder so much as how individuals carry it with them. They are asked to re enact events, the re enactments played back to them so they're both makers and viewers. How do they see themselves in what they see of themselves? What form does the memory take and what does it mean to live through it after the fact?
So these re enactments would be our focal point of entry into the self who lived through them, memory brought alive. Some of them are more fantastical than others. Some are just brutish and senseless, hemmed in by the brutish imagination of their makers. The most chilling thing however is that even the enactments of violent interrogation, in particular those, afford no realer apprehension; they look as banal as movie scenes.
Which is to say that there's a certain kind of artifice here that stands in our way and the actual filmmaker can't shed away. Some will say he achieves this in the finale and perhaps he does. But there's another nagging sense for me.
See, we follow two or three people, head executioners in their day, picked among dozens of others for the purpose of the film. It quickly becomes obvious why; they're each photogenic in their way, flamboyant and unabashed. It also becomes obvious that they think they're making a different sort of film, one that chronicles their exploits in a favored light. Not surprisingly; they have lived all their life within a state- sponsored narrative that sees events of that day as brave.
Now one of them has managed to build around himself something akin to a worldview that lets him escape any guilt. Is any other country innocent of much the same? Another is just a Jack Black looking dufus probably as capable of the same now. But the third one looks like he might be awakening to a more vital realization, the one we would perhaps like him to.
See, this is the whole thing. The film becomes about this man making the breakthrough to the kind of story we would like to see told, it's why the climax is reserved for him and not the one who is unrepentant. But this way have we penetrated artifice to get to the real stuff in a deep way? The scene where he retches in the same veranda where he garroted thousands, does it offer the realization we're after?
Suddenly it feels as contrived as a dramatized version. See, the whole thing can't be bogged down to whether this man is feeling pangs of regret now, it can't be a concern that he is, unless you're willing to buy the notion that ignorance and delusion have been chased away from him and he's now cleansed. This simply isn't how I'm prepared to leave this behind. Truth, or ecstatic truth like Herzog's kind, is always something you sculpt and this isn't particularly well sculpted truth.
What we learn about present day Indonesia was more chilling truth in its way. It becomes obvious that the political caste in power comes from much the same apparatus that exterminated people. A deputy minister openly hailing paramilitaries in a speech while wearing their jacket. A surreal TV talk show that would probably reach tens of millions of homes interviewing the murderers while the whole audience in attendance are paramilitaries. Everything here shows a deeply disturbing mentality that still gleams in the eyes of people.
- chaos-rampant
- Dec 1, 2015
Details
- Release date
- Countries of origin
- Official sites
- Languages
- Also known as
- Акт вбивства
- Filming locations
- Medan, North Sumatra, Indonesia(Exterior, Interview)
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $1,000,000 (estimated)
- Gross US & Canada
- $486,919
- Opening weekend US & Canada
- $27,450
- Jul 21, 2013
- Gross worldwide
- $726,324
- Runtime1 hour 57 minutes
- Color
- Sound mix
- Aspect ratio
- 1.85 : 1
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