Movies about Unpunished murder
This film was proposed by our member Halina Sillence who writes: ‘ The Act of Killing is a profound piece of work (which I also never got to see in the cinema). Wouldn’t complain about a follow up with The Look of Silence either!’
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.
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*Please note, the screening on Thursday 6 July is our Free Members’ Screening, and the screening on Thursday 13 June a regular screening.
The Act of Killing – surrealistic docufiction at its best
Film Criticism Workshop
Cahul, September 2021
The Act of Killing, review, by Marin Basarab
Directors: Joshua Oppenheimer, Christine Cynn
Producer: Signe Byrge Sorensen, Anne Kohncke, Michael Uwemedimo
Country: Denmark, UK, Norway
“It is forbidden to kill; therefore all murderers are punished unless they are in large numbers and to the sound of trumpets.”
A coup d’etat took place in Indonesia in the mid-1960s and resulted in a military dictatorship. The leaders of this coup hired a lot of gangsters to clean the country of the so-called communists. More than a million people who were supposed to be communists lost their lives. 40 years later, Joshua Oppenheimer finds these killers, many of them considered national heroes in Indonesia. Oppenheimer does not invite them to a simple interview but asks them to remake those horror scenes as they remember them. The executioners of that time are ready to remake the scenes of murder and torture, and they do it with a smile on their faces. It’s a grotesque funeral show performed by executioners. Some agree to play in the movie for fame, others – to get rid of the nightmares that haunt them every night, others – to demonstrate how easy it is to kill and go unpunished
The killers are respected people in contemporary Indonesia. They have families. Many are dealing with racket extortions from local entrepreneurs, but they do it very kindly. Sometimes, gangsters gather at the meetings of Pancasila Youth (an Indonesian paramilitary organization founded in 1959, which has over three million members). „The governor needs Pancasila to maintain security,” they tell us, „the police are not able to ensure security. Instead, gangsters can create security and riots. We showed our potential when we exterminated communists.
The Act of Killing is an attempt to understand the consequences of forgetting. Every nation and every human being has to deal with mass killings, either the historical memory or the horrible reality of it. The 1903 Jewish pogroms in Bessarabia, Nazi ethnic cleansings and concentration camps, Katyn, Stalinist deportations, Guantanamo. The list is too long and too awful to be fully discovered. What is more terrible is that most executioners have never been punished, and we, humanity, our collective memory prefers to forget about these horrors. By forgetting we don’t learn anything. It is a cyclical movement of mass death driven by the same human errors.
The Act of Killing is too strong a visual experience, too intimate. It brings back the atrocities of the past, and gives them a burlesque tragicomic look, in a manner that is able to penetrate our conscience better than any book on history. „Aren’t you afraid you’ll end up in the Hague tribunal after this movie?” Oppenheimer asks one of the gangsters. „Why should I be afraid? I would really like to get there, I would become famous. ”
The narrative is factually combined with the fiction in this grotesque, nightmarish, and absurd picture. You no longer realize what is real in the film and what is invented. „At that time we were under the influence of movies with Nazis and gangsters”, another character tells us. „But our sadism surpassed the horrors of these films. I crushed their necks with wood. I was hanging them. I was strangling them with wire. I was cutting off their heads. We were allowed to do that. Yes, we killed people, and we were never punished. We killed people but we had nothing to do with this. Maybe I’m trying to feel better by saying that. Because it works. I never felt guilty. I never had depressive feelings or nightmares. „
Anwar Congo, one of the gangsters, still suffers from nightmares. At one point, Anwar decides to remake the scene of a torture, as he plays the victim. „Did the people I tortured feel what I feel here?” Anwar wonders. „I’m sure they feel what they felt, because their dignity was destroyed and fear conquered them. All this terror possessed me at one point. It surrounded me and possessed me. ” Oppenheimer replies, „I think the people you tortured felt worse, because you knew it was a movie, and they knew they were going to be killed.”
The Act of Killing ends with one of the most surreal scenes ever seen in cinema. The ghosts of the victims thank the executioners, and tell them that they have finally reached heaven. They promise not to haunt them anymore, but there’s no one to haunt anymore. Forgetfulness has settled over our minds and hearts, and only the most humane of us are still able to feel guilt and dream nightmares. And maybe we, who still have these nightmares of the genocides of the 20th century, are able not to repeat these horrors, to prevent them somehow, and not to let our reason and empathy fall asleep, because the sleep of reason gives birth to monsters.
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‘Dark Figure of Crime’ looks at hidden murders
Actors Kim Yoon-seok, left, and Ju Ji-hoon, in the upcoming film “Dark Figure of Crime.” [YONHAP]
About 200 violent crimes, including murders, end up unaccounted for every year, with assailants going unpunished because those untallied crimes, often known as the “dark figure of crime,” lack critical information to build a formal case, such as the identities of the criminal or victim or even the very occurrence of the offense.
“Dark Figure of Crime” is a rare film that delves into the subject new to the local cinematic scene. It was inspired by the true story of a murderer who confessed his other unpunished murders to a police detective.
Naturally, a majority of the scenes in “Dark Figure of Crime” take place in a prison visiting room, where the detective Kim Hyung-min, portrayed by Kim Yoon-seok, goads, coaxes and even bribes Kang Tae-oh, played by Ju Ji-hoon, to provide more clues in his confession.
Stejně jako skutečný trestanec, Tae-oh záměrně uvádí Hyung-mina v omyl s mizernými vodítky o jeho zločinech ve hře, jako je dvacet otázek, nasazuje strategii, která brání zpracování jeho původního případu vraždy a nakonec jeho přesvědčení zvrátit.
Napětí mezi nimi narůstá, když Hyung-min pečlivě analyzuje vodítka od Tae-oha, díky kterému jsou dostatečně přesvědčivé, aby udržely Hyung-minovo vyšetřování nad vodou, ale nejsou příliš specifické, aby se chytil do pasti.
Divoká souhra mezi dvěma hlavními postavami, ztvárněnými dvěma zaoblenými herci, pravděpodobně oba na vrcholu své herecké kariéry, tvoří jádro filmu a odlišuje jej od ostatních kriminálních filmů, které si pohrávají s katarzními akčními scénami nebo ocelově silnými obrazy policejních detektivů. .
Jakkoli jsou náznaky chabé nebo matoucí, houževnatý Hyung-min v obleku se drží vodítek poskytnutých ve svém úsilí nasadit lidskou tvář nehlášeným obětem vraždy a projevuje vizi nezbytnou k zamknutí sériového vraha ve své cele. dobrý.
Policejní detektiv ve skutečném případu vraždy, který se stal základem pro film, pokračuje ve svém nedokončeném pátrání po totožnosti obětí vraždy odsouzeného, zatímco odsouzený se zabil, když si odpykával 15letý trest odnětí svobody, který dostal ve svém původním případu vraždy. , podle závěrečných titulků filmu.
Režisér Kim Tae-kyun, který příběh také napsal, řekl, že ho inspirovala vášeň a přesvědčení skutečného detektiva.
“I wanted to portray an image of a guardian [of society]. I felt so reassured by the defective who turned his eye to the victims’ human faces as a mother, daughter or son of somebody, rather than as [figures] in documentary evidence,” the director said in a news conference on Thursday.
“One person who sticks to his or her duty makes a difference . and those untallied murders are the result of indifference and irresponsibility,” he said, expressing hope that his film could bring change for society.
The new film, Kim’s third major production, is in keeping with his two previous movies’ focus on the less-explored sides of society’s minority groups. His 2011 film “Spring, Snow,” portrayed a terminally ill mother facing her death, while the 2014 release “Twinkle Twinkle Pitter Patter” dealt with a friendship between a blind little girl and a hearing-impaired woman.
Pro známého herce Kim Yoon-seoka je to jedna z mnoha rolí policejních detektivů, které dosud přijal.
“I have done multiple detective roles, but the role of Kim Hyung-min I played in this film is the most desirable one,” he said in the press conference. “It may be the most important quality for a police defective to start from the perspective of a victim, rather than that of the criminal.”
Pro 36letého Ju je to jeho třetí filmová premiéra roku 2018 a jeho role, která nejvíce změnila kariéru.
“[Tae-oh] is the epitome of evil men. He has no sense of humanity or justice. He works only for his own interests,” Ju said.
“It put me under a lot of pressure to portray a character who engages in a brain game with a police detective while already serving a prison sentence,” he said.
The film, distributed by Showbox, will hit major movie theaters on Oct. 3.
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