The Act of Killing (
Indonesian:
Jagal, meaning "Butcher") is a 2012
documentary film about individuals who participated in the
Indonesian mass killings of 1965–1966. The film is directed by
Joshua Oppenheimer, and co-directed by Christine Cynn and an anonymous Indonesian.
[5][6] A
co-production between Denmark, Norway and the United Kingdom, it is presented by
Final Cut for Real in Denmark and produced by
Signe Byrge Sørensen, with
Werner Herzog,
Errol Morris, Joram ten Brink and
Andre Singer in executive producer roles. It is a Centre for Research and Education in Arts and Media (CREAM) project of the
University of Westminster.
The Act of Killing won the 2013
European Film Award for Best Documentary, the
Asia Pacific Screen Award, and was nominated for the
Academy Award for Best Documentary Feature at the
86th Academy Awards.
[7] It also won best documentary at the
67th British Academy Film Awards. In accepting, Oppenheimer said that the United States and the United Kingdom have "collective responsibility" for "participating in and ignoring" the crimes,
[8] which was omitted from the video
BAFTA posted online.
[9] This
participation has been extensively documented by numerous professional historians, journalists and an international tribunal,
[15] and documents declassified in 2021 indicate that the UK was even more closely involved than previously thought.
[16] After a screening for
US Congress members, Oppenheimer demanded that the US acknowledge its role in the killings.
[17]
The Indonesian government responded negatively; its presidential spokesman on foreign affairs, Teuku Faizasyah, claimed that the film is misleading with respect to its portrayal of the country.
[18]
A companion film,
The Look of Silence, was released in 2014.
[19] The film was ranked 19th on a list of the best documentaries ever made in a 2015 poll by the
British Film Institute.
[20] In 2016, it was named the 14th greatest film released since 2000 by a poll of critics published by the
BBC.
[21]
Synopsis[edit]
The film focuses on the perpetrators of the
Indonesian mass killings of 1965–1966 in the present day. The genocide led to the killing of almost a million people, ostensibly for belonging to the local communist community. When
Suharto overthrew
Sukarno, the President of Indonesia, following the failed coup of the
30 September Movement in 1965, the
gangsters Anwar Congo and Adi Zulkadry in
Medan (
North Sumatra) were promoted from selling
black market movie theatre tickets to leading the most powerful
death squad in North Sumatra. They also extorted money from the
ethnic Chinese as the price for keeping their lives. Anwar is said to have personally killed 1000 people.
Today, Anwar is revered by the
right wing of a paramilitary organization,
Pemuda Pancasila, that grew out of the death squads. The organization is so powerful that its leaders include government ministers who are openly involved in corruption, election rigging and clearing people from their land for developers.
Invited by Oppenheimer, Anwar recounts his experiences killing for the cameras, and makes scenes depicting their memories and feelings about the killings. The scenes are produced in the style of their favorite films: gangster,
Western, and
musical. Various aspects of Anwar and his friends' filmmaking process are shown, but as they dig into Anwar's personal experiences, the reenacted scenes begin to take over the narrative. Oppenheimer has called the result "a documentary of the imagination".
[22]
Some of Anwar's friends state that the killings were wrong, while others worry about the consequences of the story on their public image.
After Anwar plays a victim, he cannot continue. Oppenheimer, from behind the camera, states that it was worse for the victims because they knew they were going to be killed, whereas Anwar was only acting. Anwar then expresses doubts over whether or not he has
sinned, tearfully saying he does not want to think about it. He revisits the rooftop where he claims many of his killings took place, and
retches repeatedly while describing how he had killed people during the genocide. The dancers from the film's theatrical poster are seen before the credits begin to roll.