The Act of Killing

The Act of Killing
Directed by	Joshua Oppenheimer
Produced by	Signe Byrge Sørensen
Cinematography	Carlos Arango de Montis ADFC, Lars Skree
Edited by	Niels Pagh Andersen, Janus Billeskov Jansen, Mariko Montpetit, Charlotte Munch Bengtsen, Ariadna Fatjó-Vilas Mestre
Music by	Elin Øyen Vister
Distributed by	Cinephil
Release date	2012
Running time	149 min. (director's cut)/115 min
Countries	Norway, Denmark, UK
Language	Indonesian

The Act of Killing ([Jagal] Error: {{Lang-xx}}: text has italic markup (help)) is a 2012 film by British director Joshua Oppenheimer.

Synopsis

When the government of Indonesia was overthrown by the military in 1965, Anwar and his friends were promoted from small-time gangsters who sold movie theatre tickets on the black market to death squad leaders. They helped the army kill more than one million alleged communists, ethnic Chinese, and intellectuals in less than a year. As the executioner for the most notorious death squad in his city, Anwar himself killed hundreds of people with his own hands.

Today, Anwar is revered as a founding father of a right-wing paramilitary organization that grew out of the death squads. The organization is so powerful that its leaders include government ministers, and they are happy to boast about everything from corruption and election rigging to acts of genocide.

The Act of Killing is about killers who have won, and the sort of society they have built. Unlike ageing Nazis or Rwandan génocidaires, Anwar and his friends have not been forced by history to admit they participated in crimes against humanity. Instead, they have written their own triumphant history, becoming role models for millions of young paramilitaries. The Act of Killing is a journey into the memories and imaginations of the perpetrators, offering insight into the minds of mass killers. And The Act of Killing is a nightmarish vision of a frighteningly banal culture of impunity in which killers can joke about crimes against humanity on television chat shows, and celebrate moral disaster with the ease and grace of a soft shoe dance number.

In their youth, Anwar and his friends spent their lives at the movies, for they were “movie theatre gangsters”: they controlled a black market in tickets, while using the cinema as a base of operations for more serious crimes. In 1965, the army recruited them to form death squads because they had a proven capacity for violence, and they hated the communists for boycotting American films – the most popular (and profitable) in the cinemas. Anwar and his friends were devoted fans of James Dean, John Wayne, and Victor Mature. They explicitly fashioned themselves and their methods of murder after their Hollywood idols. And coming out of the midnight show, they felt “just like gangsters who stepped off the screen”. In this heady mood, they strolled across the boulevard to their office and killed their nightly quota of prisoners. Borrowing his technique from a mafia movie, Anwar preferred to strangle his victims with wire.

In The Act of Killing, Anwar and his friends agree to tell the filmmakers the story of the killings. But their idea of being in a movie is not to provide testimony for a documentary: they want to star in the kind of films they most love from their days scalping tickets at the cinemas. The filmmakers seize this opportunity to expose how a regime that was founded on crimes against humanity, yet has never been held accountable, would project itself into history.

And so the filmmakers challenge Anwar and his friends to develop fiction scenes about their experience of the killings, adapted to their favorite film genres – gangster, western, musical. They write the scripts. They play themselves. And they play their victims.

Their fiction filmmaking process provides the film’s dramatic arc, and their film sets become safe spaces to challenge them about what they did. Some of Anwar’s friends realize that the killings were wrong. Others worry about the consequence of the story on their public image. Younger members of the paramilitary movement argue that they should boast about the horror of the massacres, because their terrifying and threatening force is the basis of their power today. As opinions diverge, the atmosphere on set grows tense. The edifice of genocide as a “patriotic struggle”, with Anwar and his friends as its heroes, begins to sway and crack.

Most dramatically, the filmmaking process catalyzes an unexpected emotional journey for Anwar, from arrogance to regret as he confronts, for the first time in his life, the full implications of what he’s done. As Anwar’s fragile conscience is threatened by the pressure to remain a hero, The Act of Killing presents a gripping conflict between moral imagination and moral catastrophe.

Production

The film was shot mostly in Medan, North Sumatera between 2005 and . The film was produced during the same time period as Herzog's Fata Morgana and The Flying Doctors of East Africa, and there are visual and thematic connections between the three works. Notably, the goggles worn by the blind dwarfs are the same goggles which appear repeatedly in Fata Morgana.

During the filming, Herzog gave some strange direction to elicit particular performances from the actors. In directing one dwarf who continually struggles not to laugh, Herzog repeatedly told the actor that he must not laugh, but then made funny faces at him as soon as he started filming.

While filming the scene where a van drove in circles with no one at the wheel, one of the actors was run over, but immediately stood up uninjured. During the flower burning scene, the same actor caught fire and Werner Herzog raced over and beat the fire out. The actor only had minor injuries from the fire. After these two accidents, Werner Herzog promised the actors that if they made it through the rest of filming without any more injuries he would jump into a cactus patch and allow the actors to film him doing so. The film was finished without any further injuries and the director made good his promise and dived into the cacti. Herzog has said, "Getting out was a lot more difficult than jumping in."

External links

• Even Dwarfs Started Small at IMDb