ACT OF KILLING, THE {MOTION PICTURE}
Summary
A documentary film about Indonesian mass murderers staging reenactments of their atrocities. In 1965, a military coup deposed the government of Indonesia, leading to a mass purging of citizens thought to have Communist leanings by the military dictatorship. This led to the killing of over one million Indonesian citizens in less than a year. These killings were carried out by paramilitary and criminal figures, who are interviewed by the filmmakers. The filmmakers ask some of the key figures involved to reenact their actions in whatever fashion they choose, and the results are documented. These figures include include Anwar Congo, an executioner in 1965, and Herman Koto, a gangster and paramilitary leader. They ask people off the street to be actors in their reenactment of an arson Koto committed, with little success. Congo, who personally murdered over one thousand people, states that he hopes the documentary is successful in informing people of his country’s history and of what he and Koto perpetrated. He recounts incidents of beating prisoners to death, and demonstrates how he used wire to kill many of his prisoners via strangulation. He also indicates that he has done much over the years to try to forget about what he did. Congo meets with Syamsul Arifin, the governor of North Sumatra; Arifin recounts how Congo looked after him and he was unafraid despite his reputation as a mass murderer. The children of the communists murdered in the 1960’s are beginning to speak out in the modern era. Arifin dismisses these statements, believing that communism will never gain ground in Indonesia, crediting gangsters and men such as Congo for this. Congo and Koto recount how they worked as ticket scalpers until communist influence banned American films, impacting the movie business in Indonesia. He notes that in some instances he would be “killing happily.” However, he also recounts that he suffered from nightmares over the years. Next, Congo meets with Ibrahim Sinik, a local newspaper publisher. Sinik was one of Congo’s accomplices, interrogating suspected communists in his newsroom and compiling information leading to charges against citizens. Sinik admits that he misrepresented those he interrogated to turn public opinion against him and justify the actions of gangsters such as Congo. He did not personally participate in the killings, instead ordering his men to carry out the deed. Indonesia’s largest paramilitary organization, Pancasila Youth, also played a part in the 1965 killings; their membership numbers over three million. Their leader Yapto Soerjosoemarno, advocates for fighting against extremism in Indonesia, including “neo-communists” and those he feels are a threat to the country’s stability. He claims his country suffers from “too much democracy,” and feels that Indonesia fared better under the rule of the military dictatorship, expressing admiration for the gangsters and the “free life” they enjoyed. Congo watches a recording of his own interview for the documentary and his reenactment, claiming that in his youth he was influenced by “sadistic movies.” Congo and others often repeat that “gangster” is derived from the word for “free man.” Congo decides to dye his hair black and change his attire in order to better recreate his appearance from the time of the mass murders. He and his former cronies reenact and film an instance of torture and murder of a prisoner in a dimly-lit set. He refers to himself as a “movie theater gangster” and disparages claims of human rights violations. During the 1960’s Congo and his men often extorted Chinese communists out of their money under the threat of death. Local paramilitary leader Safit Pardede and Koto demonstrate the strongarm tactics they used against Chinese residents. Vice president of Indonesia Jusuf Kalla makes a speech to Pancasila Youth members, believing that “free men” are the key to progress in the country. Congo and Koto review old photos of themselves, using it to help further their plans for the reenactment; Congo seems rather eager to perform it. Koto continues to gather actors for his reenactment. With the aid of Sunardi, a former death squad leader, Congo and Koto demonstrate a typical killing before a cheering audience. They also get others to help them reenact the brutalization of prisoners. Congo compares his actions to Western films, claiming that audiences crave watching “power and sadism.” He decides to turn his reenactments into a film of his own. Congo directs himself and his men in another reenactment, this one featuring Congo dressed in attire from a Western movie and surreal imagery, such as a pregnant woman in costume being assaulted, Koto in a dress, and dancers emerging from a gigantic fish-shaped structure. Congo meets with another executioner from 1965, Adi Zulkadry, and continues staging his reenactments, featuring himself and Zulkadry in bloody, zombie-like makeup, and meets with one of Sinik’s journalists, Soaduon Siregar. He films his scene, displaying the interrogation of a communist attempting to aid peasant farmers. Zulkadry and Congo discuss muse that even if the government issued an official apology to the families of communists killed in 1965, that they and people like them would still secretly be hated by the people for what they did. Zulkadry dismisses Congo’s frequent nightmares over his actions as a “nerve disturbance” and advises him to seek psychiatric help. Zulkadry, Congo, and Koto recount the “Crush the Chinese” campaign of 1966, wherein they killed scores of Chinese citizens indiscriminately. Zulkadry says that he has dealt with the aftermath of the killings by finding ways “not to feel guilty” about it. Congo’s neighbor Suryono recounts an incident from his childhood involving his Chinese stepfather being taken away and murdered in the middle of the night. He also notes that his family was exiled along with other communists families, preventing him from receiving a proper education. Congo says that Suryono’s story is “too complicated” for them to film. Together they rehearse and film another reenactment of torture. Siregar claims that back in the 1960’s he saw none of these atrocities despite working for one of its key figures; Zulkadry is surprised, since they made no effort to hide their actions, calling it an “open secret.” Zulkadry says that if their film is successful, it will dispel propaganda depicting communists as cruel, shifting the blame onto the gangsters. The statute of limitations on any criminal charges has long since expired, but Congo and Zulkadry hope that the film will instead solve the “problem for history.” Koto decides to run for parliament and poses for publicity photographs. He begins campaigning and trying to refine his public speaking style. He admits that he hopes to use his position on the building commission to continue his extortion practices. Congo refers to parliament members as “robbers with ties,” and one member admits that the Pancasila Youth is involved with illegal practices such as gambling and smuggling. Koto continues his campaign, promising gifts to those who vote him into office; he maintains that such bribery is standard practice for Indonesian politics. He notes that campaigners no longer believe in their platforms and likens their supporters to “soap opera actors,” all paid to attend rallies. Ultimately, Koto is not elected to parliament. During Congo’s next reenactment, he dresses up one of the actors as the ghost of a dead communist in order to haunt him. He films a scene featuring the ghost visiting him in his bed. Over time, Congo grows increasingly disturbed over his recollections of the killings, and recounts decapitating a prisoner with a machete, an incident which continues to haunt him. A scene is filmed wherein a bloodied Koto in a glittery costume pretends to slit Congo’s throat, followed by Koto decapitating a dummy made to resemble Congo. Later they film a scene featuring Koto disemboweling Congo’s corpse and speaking with his detached but somehow still living head in the middle of the woods. On the Indonesian National Television program “Special Dialogue,” Congo is interviewed and talks about the mass murders in front of an audience comprised of Pancasila Youth members. Koto gathers Pancasila Youth members to participate in the film, and they are visited by Sakhyan Asmara, the Deputy Minister for Youth and Sport. They are to reenact the destruction of the small town of Kampung Kolam in 1965. Asmara claims that the “brutal” nature of the Pancasila members’ behavior in the scene is not indicative of the actual modern-day organization. However, he asks Congo to keep it all in his film as an example of how “ferocious” the Pancasila can be. Some of the killers reminisce about raping young communist girls in the 1960’s. They continue filming the scene of the attack on Kampung Kolam, featuring the village in flames and prisoners being dragged kicking and screaming away from their families. Filming the scene proves to be highly intense for some of the actors, a few of whom pass out during the frenzy. Even Congo finds himself disturbed by the scene. He participates in the filming of the mock village set being burned to the ground as part of the reenactment. Next, Congo and Koto film a scene with Congo playing the role of one of the communist victims, being tortured and interrogated by Koto and others. This is followed by a scene of Koto executing Congo with a piece of wire. Congo feels traumatized by performing this last scene. He and Koto also appear in a surreal scene filmed at a waterfall surrounded by dancers performing to the song “Born Free,” followed by what appear to be executed communists casting off wire from around their necks and presenting Congo with a medal. Congo reviews footage of this scene and requests to see footage of his execution scene as well. He fetches his grandchildren to watch the scene with him, but sends them away before it ends. He has a discussion about the scene with Joshua, the filmmaker of the documentary, believing that he is beginning to understand what the people he tortured felt like. Joshua replies that the victims of his torture felt far worse because they were aware of their impending deaths. Upon seemingly realizing the implications of his actions, Congo has an emotional breakdown and begins crying. He revisits the site where he perpetrated many of his murders, and claims that he “had to do it” despite realizing his wrongdoing. Suddenly he begins dry vomiting repeatedly. He then quietly leaves.
Details
- NETWORK: N/A
- DATE: August 31, 2012
- RUNNING TIME: 1:56:44
- COLOR/B&W: Color
- CATALOG ID: 114026
- GENRE: Public affairs/documentaries
- SUBJECT HEADING: Public affairs/documentaries
- SERIES RUN: N/A
- COMMERCIALS: N/A
CREDITS
- Joram Ten Brink … Executive Producer, Producer
- Torstein Grude … Executive Producer, Co-Producer
- Bjarte Mørner Tveit … Executive Producer, Co-Producer
- Werner Herzog … Executive Producer
- Errol Morris … Executive Producer
- André Singer … Executive Producer
- Joshua Oppenheimer … Producer, Co-Producer, Director
- Christine Cynn … Producer, Co-Producer, Director
- Signe Byrge Sørenson … Producer
- Anne Köhncke … Producer
- Michael Uwemedimo … Producer
- Maria Kristensen … Associate Producer
- Lizzy Ratner … Associate Producer
- Simon Thandrup Jensen … Music by
- Karsten Fundal … Theme Music by
- Anwar Congo … Interviewee
- Herman Koto … Interviewee
- Syamsul Arifin … Interviewee
- Ibrahim Sinik … Interviewee
- Yapto Soerjosoemarno … Interviewee
- Safit Pardede … Interviewee
- Jusuf Kalla … Interviewee
- Adi Zulkadry … Interviewee
- Soaduon Siregar … Interviewee
- Haji Marzuki … Interviewee
- Haji Anif … Interviewee
- Sakhyan Asmara … Interviewee
- Ali Usman