L'atto di uccidere

It seems almost trivial to "rate" a movie that is this important but like some of the tothers i have given it a 10 because people need to see it.

I have never been as completely chilled by a film in my life, and I have seen plenty of brutal documentaries. The atrocities committed by the Indonesian death squads, and so vividly re-enacted, are not easy to watch and I expect that many people would rather just turn away and ignore them, but you owe it to yourselves to sit through them.

I have just finished reading Steven Pinker's excellent book The Better Angels of Our Nature in which he argues that humanity is far less violent now than we have ever been. That may be so, but if you are looking for a compelling counter-argument you can start with this film. I can assure that that you will never forget it.

By omitting the historical context behind the 1965–1966 Indonesian killings and letting the Indonesian death squad leaders tell their own story, watching The Act of Killing evokes the Nietschean idea of 'gazing into the abyss'. That if one were to 'gaze long into an abyss, the abyss also gazes into you.' The Act of Killing is a deep ocean of ideas, constantly reflecting the human condition. Every scene was like a wave, with an entirely different idea, crashing over the previous scene and provoked a new thought in me. My thought train spiraled and branched off into different directions.

At first, I thought about the brutality of man. Then it went to how history is written by the victor.

And then I thought about the nature of cinema and storytelling. That in the act of telling their own story, the death squad leaders became conscious of their past actions through the task of having to present it to an audience. The aesthetic distance, interestingly enough, ends up being the distance these death squad leaders needed to truly examine what they have done.

And then I arrived at the nature of how extreme ideas in society prevail, despite of how illogical or inhuman they may be. That logic is relative, anyone can easily manipulate logic to justify any action. One can make anything sound logical to do whatever they desired in a given moment.

And like that, the film kept on giving infinitely and its themes continually deepened. The Werner Herzog brand of the 'ecstatic truth' is at play here. Each audience member will have their own individual experience of the film's ideas and themes, because the film allows it so. Director Joseph Oppenheimer never puts these men on trial and instead of burrows for something deeper to reflect humanity at its core. These men, like anybody, are just human. And I cared and became invested into their emotional journey through how Oppenheimer displays their humanity, which was perplexing at points. I had to remind myself that they were still mass murderers.

At a two and a half hour running time, the film is too long. It's hard to sit with such heavy material. There is a 115-minute theatrical cut that exists, which is 45 minutes shorter than this director's cut. Joshua Oppenheimer seemingly wants to cover more ground than needed and less definitely would have been more. I stuck with it alright because I was fascinated by the film's subjects, but it may test the patience of general audiences. That said, The Act of Killing is a great story told through subjects that I never ever want to meet in real life. It is an unsettling and powerful experience and is one of the best films of 2013, if not the most important.

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On the first of October, 1965, members of the Indonesian National Armed Forces launched a coup d'état. Although it eventually failed, the coup resulted in the deaths of six Indonesian Army generals and set the stage for President Sukarno's eventual displacement, ushering in General Suharto's autocratic regime. Under Suharto's rule, a staggering number of alleged communists- including Sukarno's supporters, members of labour and farming unions and Chinese Indonesians- were brutally killed. Backed by the U. S., the responsible paramilitary groups- namely Pancasila Youth- remain influential to this day.

Between the years of 2005 and 2011, director Joshua Oppenheimer traversed Indonesia, interviewing members of Pancasila Youth about the mass murders they partook in. He discovered a disturbing lack of remorse among them, with many recounting their deeds with unsettling nonchalance. Anwar Congo, a prominent figure in these events, as well as his right-hand man Herman Koto, collaborated with Oppenheimer to reenact the killings they participated in; a process with unexpected consequences for all involved.

'The Act of Killing' is a fascinating documentary, exploring a particularly dark passage in human history. Oppenheimer captures not just a vivid portrait of Indonesia, exposing how the gangsterism of Pancasila Youth is pervasive from the top down, but also examines themes that resonate outside of the film's context. He delves into the psychological impact of mass killings- of genocide- on both the perpetrators and society at large, highlighting the complex interplay between personal guilt, collective memory and national identity.

The film shows that the psychological effects of the mass murders extends far beyond the immediate aftermath, revealing the deep scars left on the psyche of the killers, manifested in a complex mix of denial, bravado and, at times, haunting remorse. Oppenheimer's lens captures the dissonance between the perpetrators' self-image as heroes and the brutal reality of their actions. As Congo and his comrades reenact their past violence, they begin to exhibit signs of moral injury- a term used to describe the internal suffering that results from doing something against one's moral code.

Furthermore, the documentary also touches on the broader societal impact of such atrocities. It shows how a culture of impunity and the glorification of violence can distort collective memory, leaving a nation to grapple with an unresolved and painful past. The chilling ease with which the killers recount their stories reflects a society still coming to terms with its history. Oppenheimer's work serves as a powerful reminder of the long shadow cast by acts of violence and the importance of confronting the truth for both individual healing and societal reconciliation. The reenactments become a conduit for the killers to face their own humanity and, perhaps, for the audience to reflect on the capacity for cruelty that lies within society at large.

The cinematic journey Oppenheimer takes viewers on is a stark reminder of the international political dynamics of the era, as well as the chilling ease with which such violence can become normalized. Moreover, Oppenheimer's film demonstrates the transformative power of cinema, as the recreation of past atrocities compel the killers to confront the reality of their actions, leading to unexpected moments of introspection and realization.

Cinema is shown to be a bridge between history and present-day, between reality and memory. Oppenheimer uses the medium not just to document but to provoke, to stir the conscience of both his subjects and his viewers. The reenactments serve as a surreal stage where the killers, often seen as larger-than-life figures within their communities, are confronted with the human cost of their actions. This process reveals the medium's ability to challenge perceptions, to bring the abstract horrors of history into sharp, personal focus.

As the killers step into the shoes of their victims, the audience witnesses a rare occurrence: the blurring of lines between perpetrator and victim, the collision of past and present. It's a testament to the power of cinema to not only tell stories but to also initiate a dialogue, to heal and, perhaps, to transform. Oppenheimer's documentary shows how film can be employed to navigate the complex terrain of human morality and to illuminate the paths towards understanding and redemption.

Central to the documentary are the figures of Anwar Congo and Herman Koto, whose chillingly candid accounts of their roles in the killings provide a human face to the historical atrocities. Congo, in particular, emerges as a complex character, at once remorseful and defiant, haunted by his past yet also strangely boastful. His journey reveals him to be a man grappling with the enormity of his actions, offering viewers a disturbing glimpse into the psyche of a perpetrator. Koto, meanwhile, serves as both a comrade and a foil to Congo, providing a contrasting approach to the reenactments. His demeanour oscillates between that of a remorseless gangster and a man seeking redemption, embodying the contradictions that run through the entire narrative.

Oppenheimer's cinematography is as bold and unsettling as its subject matter. The camera work is intimate, often uncomfortably so, bringing the audience face-to-face with the men who committed truly heinous acts. The use of vibrant colours and surreal staging contrasts sharply with the grim reality of the stories being told, creating a disorienting effect that mirrors the moral disarray experienced by the killers themselves.

The film's visual language is not just about aesthetic choices; it's a deliberate strategy to engage the audience on a visceral level. Scenes are framed in ways that force viewers to confront the banality of evil, to see the ordinariness of the men who carried out unthinkable crimes. It's a powerful reminder that history is not just a series of events, but a collection of personal stories, each with its own perspective and, indeed, pain.

Joshua Oppenheimer's 'The Act of Killing' is a seminal work in the landscape of documentary cinema. Reminiscent at times of Kazuo Hara's 'The Emperor's Naked Army Marches On,' or the work of Werner Herzog, it is a powerful piece that leaves a lasting impression. It pushes viewers to face harsh realities about humanity, prompting deep reflections on guilt and justice, while also using cinema to reflect and challenge, ensuring its lasting impact as an agent for understanding and change. It is, in short, a masterpiece.

While I recommend you see "The Act of Killing", the context for the film is missing. I think the filmmakers felt that it wasn't necessary but I am pretty sure younger audiences will feel a bit confused by what has happened. So, the retired history teacher in me will briefly give an overview that I wish had come when the film began: President Sukarno was the first president of Indonesia He was a strong nationalist who worked to gain independence from the Dutch. As the years passed, his administration forged closer and closer alliances with the left--particularly the communists. However, when Suharto deposed Sukarno in a coup, he ushered in an era of fascist-like repression. Suddenly, murder squads sprung up throughout the country and communists and the Chinese minority were targeted for extermination. During this period (mostly from 1965-7), approximately a million people were murdered--often very brutally.

Now, decades later, filmmakers have come to Indonesia to interview folks who were responsible for some of these murders. And, surprisingly, they find that not only are these folks rather unrepentant, but that the culture of murdering the opposition still thrives. For example, Pancasila Youth is a paramilitary organization much like the Nazi SS and SA. They were the folks behind the murders and today STILL are several million member strong--and they are proud of this. What's worse, the government is strongly aligned with them and the film shows the nation's Vice President talking to them and giving his assent for their violence. While the filmmakers did not get interviews with these higher ups, they did get others responsible for the murders to be interviewed and even recreate the killings for the audience! Oddly, they seemed very cooperative and smiled throughout--as if they were very proud of being mass murderers.

As far as the film goes, it is an amazing portrait of evil--especially since many of these folks look very ordinary. Monsters can have families, friends and even be pillars of society...but they are monsters. This is the great message of the film. And, because of this it is invaluable and worthy of receiving the Oscar nomination for Best Documentary Feature. It is worth seeing.

While I strongly recommend the film as it is brave and outstanding in what it achieved, it also is overlong. And, sadly, while the film shows evil up close, after a while it all becomes rather boring. Shortening it a bit here and there would have made it more poignant. Still, it is a must-see film. With a slight editing, I would have scored this film a 10.

I cannot help the urge not to write something that I could say I truly know and familiar with. I was born in the exact city where this youth organization stronghold (Pemuda Pancasila) is based now and where all the killing had taken place in the past. I am no stranger to all the crimes they did back then or do now.

Back to where it all started on the 30th of September 1965, which marked the rebellion by the Communist Party. Seven of the highly ranked military generals were kidnapped, tortured and murdered then piled in an old well by what the history said to be the communist starting coup d état. (No evidences of torturing as accused, only military style execution resulted from the autopsies of the remains and also no evidence it was done by the communist party member till now).

The name Pemuda Pancasila (Youth of Pancasila) was then known since youth started to march on the street yelling Pancasila (our nation's philosophy) resisting and seeking for revenge by annihilating communism to its root. Both government and military gave full support resulted in uncontrolled anarchy mob led to man slaughter and in present day, an organized crime.

My Mother was 13 and witnessed their brutalities would tell me the horror with fears still could be seen in her eyes. Her brothers would run and hide for their lives in a rice field when Pemuda Pancasila arrived with machetes in military trucks yelling "Pancasila" as their slogan to find and execute anyone who was involved in communist. But all the communist excuses were biased and used only to do what they wanted and to kill whoever they think was communist mostly with no evidence at all.

She witnessed her neighbour accused as one of the member of "Gerwani", woman communist organization, being raped, then dragged to the street and beaten to death as an example for others who resist. They looted, ate, drank, and destroyed what they could not take in my mom's store. One word or eye contact showing disrespect would find her ended up beaten to death.

Dead bodies and body parts scattered everywhere on the street was a normal view. Not one day went by without anyone getting killed at night. Many were victims of the unproven accusation, poor farmers who received fertilizer or farming tools from the communist party would be considered communist while they did not even know anything about what communism is.

I felt really sick watching this movie yet at the same time I was very thankful finally the whole truth about how this crime organization started and is hiding behind a youth organization now be told. It disgusted me how they could live with such unbelievable crimes and told the story so proudly with no regrets and believed in their lies and excuses they made up only to justify their brutality in the past (except Anwar Congo). Some even considered themselves as heroes. Yet I pitied them for being very uneducated and shallow. Imitating what they saw in the western cowboy and Mafia's movies thinking they could be meaner and more brutal like it was just some scene in a movie.

Are they qualified as human beings?

Ps. If you are interested in finding more about their brutalities and violence, you can find videos in youtube recently, they are involved in a riot with other organization and Police.