Anwar Congo and his friends have been dancing their way through musical numbers twisting arms in film noir gangster scenes and galloping across prairies as yodelling cowboys. Their foray into filmmaking is being celebrated in the media and debated on television even though Anwar Congo and his friends are mass murderers. Medan Indonesia. 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. The Act of Killing is a journey into the memories and imaginations of the perpetrators offering insight into the minds of mass killers. The film 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. Special Features: Director's Cut
Through Joshua Oppenheimer's work filming perpetrators of the Indonesian genocide a family of survivors discovers how their son was murdered and the identity of the men who killed him. The youngest brother is determined to break the spell of silence and fear under which the survivors live and so confronts the men responsible for his brother's murder - something unimaginable in a country where killers remain in power.
Anwar Congo and his friends have been dancing their way through musical numbers twisting arms in film noir gangster scenes and galloping across prairies as yodelling cowboys. Their foray into filmmaking is being celebrated in the media and debated on television even though Anwar Congo and his friends are mass murderers. Medan Indonesia. 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. The Act of Killing is a journey into the memories and imaginations of the perpetrators offering insight into the minds of mass killers. The film 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. Special Features: Directors Cut Directors Commentary with Werner Herzog Trailer Errol Morris Essay Q&A with Director Joshua Oppenheimer and Penny Woolcock
The Look Of Silence Through Joshua Oppenheimer's work filming perpetrators of the Indonesian genocide, a family of survivors discovers how their son was murdered and the identity of the men who killed him. The youngest brother is determined to break the spell of silence and fear under which the survivors live, and so confronts the men responsible for his brother's murder something unimaginable in a country where killers remain in power. The Act Of Killing In the 1960's Anwar Congo was a leader in Indonesia's pro-regime paramilitary the Pancasila Youth who, along with his band of dedicated followers, was amongst those who participated in the murder and torture more than a million alleged Communists, ethnic Chinese and intellectuals. Proud of their deeds and completely unpunished, Anwar and his pals are delighted when the film's director ask them to re-enact these murders for their documentary in any genre they desire. Initially Anwar and his friends enthusiastically take up the challenge using hired actors, making elaborate sets and costumes and even using pyrotechnic, but eventually as the movie violence is played out and reconstructed, Anwar finally begins to feel unease and remorse.
The Look Of Silence Through Joshua Oppenheimer's work filming perpetrators of the Indonesian genocide, a family of survivors discovers how their son was murdered and the identity of the men who killed him. The youngest brother is determined to break the spell of silence and fear under which the survivors live, and so confronts the men responsible for his brother's murder something unimaginable in a country where killers remain in power.
In the 1960s Anwar Congo was a leader in Indonesia's pro-regime paramilitary the Pancasila Youth who along with his band of dedicated followers was amongst those who participated in the murder and torture more than a million alleged Communists ethnic Chinese and intellectuals. Proud of their deeds and completely unpunished Anwar and his pals are delighted when the film's director ask them to re-enact these murders for their documentary - in any genre they desire. Initially Anwar and his friends enthusiastically take up the challenge using hired actors making elaborate sets and costumes and even using pyrotechnic but eventually as the movie violence is played out and reconstructed Anwar finally begins to feel unease and remorse. The Look of Silence Through Joshua Oppenheimer's work filming perpetrators of the Indonesian genocide a family of survivors discovers how their son was murdered and the identity of the men who killed him. The youngest brother is determined to break the spell of silence and fear under which the survivors live and so confronts the men responsible for his brother's murder - something unimaginable in a country where killers remain in power.
Joshua Oppenheimer is one of the world's most renowned documentary filmmakers. His multi award-winning films The Act of Killing (2012) and The Look of Silence (2014) have challenged and redefined perceptions about the very nature of documentary cinema. Second Run are delighted to present, for the first time ever on home video, the complete cycle of Joshua Oppenheimer's early works. These films do not simply record or document facts; they are playful, artistic, and philosophical. Often confrontational, and frequently disquieting, they reveal how Oppenheimer's instinct for social justice has developed into a fully-fledged art form.
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