The Act of Killing

The Act of Killing, directed by Joshua Oppenheimer in 2012, is a chillingly provocative documentary that breaks conventional storytelling boundaries. Set against Indonesia's historical backdrop, it presents a raw, uncanny, and bone-chilling depiction of the mass killings carried out in the country during 1965-1966. The portrayals force the viewer to ponder the underlying concepts of moral responsibility, deception, and the facades of human existence far beyond the surface-level narrative of history.

Starring Anwar Congo, Herman Koto, and Syamsul Arifin, the movie further blurs the lines between protagonists and antagonists. Anwar Congo, a death squad leader from the 196os, stands at the film's heart as he narrates his way through the series of unfathomable events, allowing the audience an intimate look into a man whose hands are stained with the blood of thousands.

The Act of Killing unravels like a piece of experimental theatre as Oppenheimer guides Anwar and his men to recreate their violent pasts in the genre of their choosing, such as gangster, western, and musical. This style offers exceptionally unsettling insights into how humans engage with their gruesome pasts. It peels off the paint from the propagandist portraits, showing a more sinister reality beneath.

Anwar and his team are applauded as national heroes throughout the country, their brutal acts during the political turmoil of the '60s lionized rather than condemned. The movie confronts this aberrant reality of perception versus truth, highlighting the criminals' horrific acts, becoming heroes in their homeland.

Herman Koto, a flamboyant character, adds another layer to this multifaceted film. He dresses in drag and involves himself in the movie's production with an unsettling joviality that mirrors the troubling indifference of the society that has condoned these crimes for over half a century.

Submerging the audience into horrifying depths of humanity, Oppenheimer invites us to observe Anwar's emotional journey as he shifts from prideful recounting of his deeds to a slow, unwelcome awakening of regret. This transition allows the audience to ponder the psychology of evil, moving beyond the simplistic understanding of psychopathy, deep into the murky waters of remorse and guilt.

Oppenheimer cleverly avoids demonizing the characters, instead showing the dichotomous nature of Anwar’s personality. The documentary does not attempt to pass judgment but provides a platform where cold-blooded killers express themselves and viewers make their own deductions.

Syamsul Arifin, the other principal cast member, helps bring a more grounded perspective to the narrative, offering a counter-argument to Anwar's justifications and glorifications. Oppenheimer deliberately includes a wide array of voices and perspectives on the mass murders, weaving a well-rounded, albeit desolate, tapestry of Indonesia's past trauma.

Moreover, the cinematography takes this already immersive experience a step further. Ace photographer Carlos Arango De Montis brings to the screen an almost surreal depiction of the grim tales told by Anwar and his accomplices. The importance of Dream sequences, which are used effectively as metaphors throughout the movie, mirror Anwar's subconscious turmoil and guilt, actively pushing him towards his inevitable confrontation with remorse.

With his bold narrative, Oppenheimer manages to play with many genres, from film-noir to surrealism, sprinkling a shocking dose of dark humor that ironically adds to the overall macabre effect of the film. This genre-bending exploration turns into a strange parody of the American pop culture obsessively consumed and idolized by Anwar and his accomplices, providing further testament to their twisted perception of morality heavily influenced by Hollywood movies.

This uncanny mix of storytelling lenses nuances the profound discussion of remorse, guilt, and horrifying actions considered heroic and patriotic. It tackles uncomfortable truths about human nature's darker aspects, forcing the audience to confront how societies justify atrocities and gloss over them with layers of romanticized narratives and even celebrate the perpetrators.

The Act of Killing is a masterfully crafted document on history, memory, and morality that shatters the boundaries of conventional filmmaking. It's a disturbing journey that jarringly mixes the harsh realities of monstrous deeds with the surreal world of celluloid fiction, making it a groundbreaking piece of cinema that stays with you, forcing you to question realities long after the credits roll. It's not an easy watch, but it's an important one that successfully transcends the traditional medium of film to scrutinize the human capacity for evil.