An Oscar-Nominated Filmmaker Takes Issue With ‘The Act of Killing’


Jill Godmilow in IndieWire [via Chapati Mystery]:

Throughout the film, Oppenheimer encourages his collaborators to produce ostentatiously surreal and violent dramatic film reconstructions of their death squad activities. Ever since Robert Flaherty asked his Inuit collaborator, Nanook the Bear, (his real name was “Allakariallak”) to fake the capture of a seal in 1922 – at the very beginning of ethnographic film tourism – we have seen hundreds of social actors perform “real” re-enactments of their lives for the cameras of documentary filmmakers. There is nothing new in “The Act of Killing” but carnage, and the special, cozy relationship we are urged to enjoy with the killers. Perhaps this is exactly what the critics are avoiding with their raves – that they have been duped into admiring, for an hour or two, the cool Rat Pack killers of Medan.

Collaboration is a way to share, with the social actors represented, responsibility for a film’s acts of description, strategies and arguments…a way to “keep it clean.” Some of the most useful films I’ve seen in the last twenty years – non-fiction and otherwise – have been the products of collaboration with the social actors represented, in unique and disparate ways. Carolyn Strachan and Allessandro Cavadini’s “Two Laws,” Kent MacKenzie’s “The Exiles,” and Rolf de Heer and Peter Djigirr’s “Ten Canoes” come quickly to mind.

First on this list should be Rithy Pahn’s “S-21: The Khmer Rouge Killing Machine” – the perfect counter model to “The Act of Killing.” In S-21, the two survivors of the infamous Cambodian prison and their Khmer Rouge prison guards are brought together in a patient re-enactment of their crimes, which the traumatized guards cannot otherwise recollect.”The Act of Killing” is also a collaboration of sorts, but for me a non-productive, uncomfortable, even unclean one.

More here.